Beethoven: String Quartet 14, op 131

Firstly – Apologies to Tully for following him with the exact same piece.

For this post I’m looking into the shape and transformation of the melodic line(s) used in the 1st movement.

The piece opens with 1st violin presenting the beginning of a fugue. The scored part is:

A basic reduction of this results in the following shape which is made up of four segments, each consisting of 3 notes either rising or descending:

In bar 14 Beethoven changes this slightly by extending it from groups of three into groups of four, as can be seen in the 1st violin part below. He also extends the idea across all the parts and some play upwards whilst others play downwards.

Bar 21 shows another transformation of this figure with three notes ascending, then only two descending:

The key changes at bar 45, and in bar 46 -49 we can easily see the the idea spread out over the four parts:

This score study has demonstrated to me how the basis of a melodic figure or motiv does not need to be based on rhythm or specific pitches, but instead can simply be based on a contour or shape.

Warren.

Beethoven – Symphony No. 5 (fate)

Well howdy,

So he too is nothing more than an ordinary man. Now he also will trample on all human rights and indulge only his own ambition. He will place himself above everyone and become a tyrant.

- Ludwig Van Beethoven, commenting on Napoleon Bonaparte

The fifth symphony, possibly the most well known piece of orchestral music in the history of man, even more so than his ninth (the better, in my opinion), and a wealth of compositional study.

The primary things that I got from all four movements are:
* Motivic transformation
* Motivic reiteration (in transformed states)
* Orchestrational use of motive.

So clearly there is a lot to do with motive in this piece.

In the first movement, which is written in a fast 2/4 feel, Beethoven expresses the main motive of short-short-short-long (which everyone on the planet would recognise), which is supposedly representative of “fate”. This motive is transformed and reiterated almost constantly, often with elaboration, but not in a very subtle way. What is wonderful about this movement is its feeling of majesty and power (the power of fate?), and I love how Beethoven uses a technique of orchestral expansion where he takes the melodic idea and repeats it with subtle differences across the various instrumental sections of the orchestra. As is said, this piece straddles the Classical and Romantic eras almost perfectly, and you can hear the approaching Romanticism clearly in this movement.

In each subsequent movement, the main motive is restated in various ways; be it transposed, reorchestrated, slowed down, or even purely rhythmic (timpani).

Vince

LUDWIG VAN BEETHOVEN. DIABELLI VARIATIONS

UN POCO PIU MOTO
Another theme, another tranformation, Just as I’m beginning to really get tired or this “sticking to one theme” business, just in time, Beethoven gives me something more interesting to hold onto. In the eight bar, he changes theme – arpeggios in alternate directions, in any pitch pattern. Whilst he does repeat this pattern ( much to my frustration), he then begins a new theme – it’s a mixture of both the first and second theme. This time, he adds in a new element – darkness. There’s this really haunting and dark undercurrent happening in the bass, as it moves diatonically in the piano’s first and second octave. In the mean time, the treble is playing above C5, and the distance of these two different registers sends chills down my spine – it’s the first time in the last ten or so minutes that I’ve actually been excited to hear how this piece will go. The movement does then revert back to its original theme and then back to the “dark” theme. This, however, doesn’t bother me so much, as we’ve now had a much needed change in mood.

VIVACE
A dramatic, full and dark opening on the tonic chord, is followed by four beats rest. It then, in stark contrast, is followed by two crochets played piano. This is then repeated except that it moves to the supertonic. The same rhythmic notions are used, building into a crescendo leading into the B section. Now, the B section, I really love – it’s so dark, demonic and just plain intriguing. Lots of accidentals are used to provide that unsettling feeling. All the same, it ends on the tonic. – perfect cadence.

GRAVE E MAESTOSO
Back to transformation. At this stage, I’m really getting over it. I really am. I’m up to number fourteen and I’ve just realised I have nineteen of these to go…can I make it? This could be peaceful/nice to listen to, but for me, it just goes nowhere. It’s just the same double dotted quaver to two hemi-demi-semi quavers towards a sustained note. It would do more for me if it either moved more, or moved less. Just when you’re enjoying this beautiful sustained note, it’s interrupted with a transistion note. Maybe I’m the product of a modern era, but I do need more excitement in my music. Or at least a little more beauty.

- Alexandra

LUDWIG VAN BEETHOVEN. DIABELLI VARIATIONS

ALLEGRO PESANTE E RISOLUTO
Man Beethoven likes his transformations! This piece is made up of grace note to staccato quaver, to another staccato quaver to a staccato crochet. The whole thing is made up of this at different pitches. The B section is really cute – it reminds me of waddling ducks, as the theme is transformed in major thirds. It does become darker however, with more dissonant chords and instead of crochets, the melody is drawn out into minims. It has your typical five one ending.

PRESTO
A presto piece in both terms of speed and length. The treble plays quavers alternating from E/G to C, whilst the bass play crochets descending in diatonic steps. It then changes to F/G to D, with the bass moving in the same way. It gives the feeling of the beginning of a race – like the right hand is the hare and the left hand is the tortoise. The “tortoise” so to speak, then catches up to the “hare” – the bass trills fifteen bars, while the treble travels up and down in diatonic steps, now in crochets. The piece then returns to the original motif of “hare” beating “tortoise”, then they catch up to each other ( both treble and bass play crotchets simultaneously), but in the end, the “tortoise” prevails – the piece returns to a trilling bass part, whilst the treble plays crochets.

ALLEGRETTO
Once again, transformation. This time the theme is triplet followed by either a minim or two crochets. It’s rather peaceful and simple in comparison with the previous “Presto” movement. In the repeat of the B section, there is more dynamic variation (in my recording), and also a ritardando in the fifth and sixth bars.

-Alexandra

LUDWIG VAN BEETHOVEN. DIABELLI VARIATIONS

ALLEGRO MA NON TROPPO E SERIOUSO
Love the trills in this one. The theme is a trill followed by a descending arpeggio. The B section explores higher pitches than that of A. The piece as a whole is very intricate and I particularly like third bar of B. It’s G arpeggio that goes to the E and lands on the F. I can’t really tell why I like it so much, but I do.

UN POCO PIU ALLEGRO
This variation’s theme is dotted quaver, semi-quaver to a held note. IT uses a lot of triplets which I really like, because the piece just reminds me of a hurricane – it’s totally hectic and I imagine it to be completely diabolical to play.

POCO VIVACE
This movement is very calming. It launches off from a G octave, to two E chords a D and a C in the treble, whilst underneath is a rippling C arpeggio, E and C#. The piece continues in this motif of held note in the treble, with rippling chords underneath.

-Alexandra

LUDWIG VAN BEETHOVEN. DIABELLI VARIATIONS

L’ISTESSO TEMPO
This variation is a lot sweeter and mellow than the first three variations, so it comes as no surprise that the expression marking is dolce. In the A section, there are only two – three notes being played at once, contributing to the lightness of the opening of this variation. The B section is less quiet and more uncomfortable and moves faster than the A section. There is also a dissonant repetition of A-Bb-C in the bass. The repeat in the B section is played softer, though with more dynamic variation than the first time.

UN POCO PIU VIVACE
This movment moves faster that all of the others and I also find that the bass and treble relationship is more interactive than all the other variations. The B section is the exact same rhythm as the A section opening, EXCEPT, interestingly enough, whilst the exact same pitches aren’t used, the EXACT same interval patterns are used, except in different diretions – where A might go a Major third upwards, B might go down a major third – though the B section doesn’t always go in the opposite direction. Once again, the repeat is played louder than the original, as is common in the romantic period (for string players at least).

ALLEGRO VIVACE
This piece is completely based on the motif of two quavers and a minim at different pitches. The main variation of this theme is in the dynamics. The sforzandos provide rhythmic interest to a theme that would otherwise become boring. It gradually accelerates and has an abrupt ending on the C chord first inversion – very unsatisfying.

-Alexandra

LUDWIG VAN BEETHOVEN. DIABELLI VARIATIONS

VIVACE:
Very waltz-like, the score shows crotchets with staccato articulation. It is in AB form, it simply repeats each section after the first time and goes onto the next.

ALL MARCIA, MAESTOSO
A Grand opening with heavy chords. It repeats the same rhythmic idea four times in a row at different pitches – the rhythmic idea being quaver, minim, crochet, quaver rest. The A section is divided by two crochet rests and continues with the same rhythmic motif. It then is repeated forte, as opposed to mezzo forte as it was the first time. The B section is slightly dissonant at the beginning, but develops consonance as it goes on. The B section explores higher pitches than that of the A section, however, keeps the same rhythmic notion. It is a great example of transformation.

POCO ALLEGRO
This movement is an exploration of syncopation – literally the whole piece is syncopated between bass and treble. Other than that, there isn’t much to say, other than that there was hardly any dynamic variation that was written in, however the recording I listened to, there was quite a surge in the repeat of the B section.

-Alexandra

Beethoven’s 5th Symphony

Written 10 generations ago, Beethoven’s 5th Symphony is one of the most popular and best-known compositions in all of classical music, and one of the most often played symphonies. ^[wikipedia]
In his 5th symphony, Beethoven uses compositional techniques such as unbridled passion and unwavering commitment to produce one of the most impressive things I’ve ever heard. Boy is this manly. According to the film “In Search of Beethoven”, he loved to socialise and was troubled by his increasing deafness. This and more is better expressed by listening to his 5th Symphony.

How am I meant to begin pulling apart a symphony so rich and of such grand proportions? Every passage is a new exploration.

The first movement begins with one of most recognisable motifs of all time, and does he ever milk it for all it’s worth. The overture is a three minute long peak, and for the rest of the movement he builds passage upon passage, varying upon the same theme to the point where it will always be remembered, so long as our civilisation survives, god bless (Beethoven believed in God). There are a couple of other themes too, which help to break the piece up a bit.

The second movement starts off more like a waltz, before he his genius flow on again. Once again there is a very strong theme central to the piece. This time, however, there is less harmonic variation over a rhythmic motif; more, ‘theme-exploration-theme-exploration-another theme-etc’. Overall this movement is much less dark.

It’s as though he used every trick in the book and then wrote another one. Listen attentively and, like a sponge, you will absorb the music in a way that no analysis could hope to achieve.

And bask in the knowledge that no matter what you do, you’re relatively inadequate. Thanks Beethoven!

- Miles

Diabelli Variations (introduction, I – II)

I will be analyzing some of Beethoven’s Diabelli Variations, primarily the ones I consider to be notable.

Each post will contain however many variations the word limit (400 words) allows me to

The theme in which the variations are based upon is a Waltz composed by Diabelli. It’s a fairly typical diatonic classical waltz, C F G, you know how it is. Well, it’s slightly more complicated than that. There is occasional use of the secondary dominant chord (D in a C major scale) and a C7 chord. But you get the drift pretty early on of what this theme will sound like. It’s the heavy lenience towards the Tonic and Dominant that gives the them a predictable classical feel.  The form is AABB. The melody is divided into phrase or gestures that are generally contained within each chord change. For example, the first half of section A’s chord progression is C G. In the C part, the melody follows the chord tones and is phrased upon this. When it then moves into the G section, a new but similar phrase begins. The B section is no different.

Now the variations.

After listening to the variations for some time. It becomes clear that the melody and form of the theme are respected and kept true. Whilst there are many stylistic and rhythmic transformations to the theme, melody and form still keep their identity. Hmmmm, that’s starting to sound a lot like jazz, where musicians will solo (or transform the melody) over the form of a piece.

Var I

The first variation is a March. The melody and harmony are very similar to the original theme. The only change is a stylistic difference. Whilst the original theme is in 3/4, the march is in 4/4. Although, the feel is more so in 2s, as Marches always are. Nothing really interesting here.

Var II

This is a rather light variation, very gentle but upbeat (poco allegro). It looks like Beethoven has asked for short stabs at the notes. There are only quavers. The melody is syncopated but many of the original notes are kept. By that, I mean the melody is still fairly based on the chord tones. The B section, which originally begins on Dominant 7th, now contains a tritone substitution. We are now beginning to see more transformations in harmony.

Beethoven’s 14th String Quartet

I thought that this was a thoroughly relevant piece to study. I only looked at the first movement (which was complicated enough to merit an entire seesion) and guess what I found? That’s right… you guessed it, melodic and rhythmic transformation!

So, the remainder of this blog will essentially describe the process that Beethoven used. First of all, let me propose that this movement is primarily in ternary form. Beethoven first provides us with a melodic idea, which he orders in a fugal fashion and also fragments it; with a middle section where he varies a second theme. He then rounds off the movement with more variations on his original theme.

Studying this made me realise that fugues are effectively a contrapuntal means for melodic variation; and that the structure of the fugue is not merely present as a basis for forming harmony.  Beethoven, in the traditional fugal arrangement, progressively presents his material from the highest instrument to the lowest instrument; with every second exposition undergoing a modulation to the dominant. However, this fugue sounds anything but traditional as Beethoven uses a lot of chromaticism; allowing his “new” approach in composition to be founded on a traditional basis.

Now, what I found most interesting was not the use of a fugue, but rather the later fragmentary presentations of both themes. The first interval in the primary theme is shortened; in fact, the whole theme is compacted into one bar, and appears spontaneously through the first and last sections as either a melody or a harmony. Beethoven applies a similar method to the second theme; which is also compacted and presented as a harmony at differewnt points.

This for me really showed that an idea is not static, rather, it represents an infinite number of opportunities.

All the best,

Timothy