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Beethoven, Ludwig van : Symphony no. 9

Kurzzusammenfassung

Ludwig van Beethoven (1770-1827): Symphony no. 9 in D minor, opus 125, Fourth movement 23:22 Text: portions of "Ode to Joy" by Friedrich Schiller I wrote this analysis of the last movement of Beethoven`s Ninth Symphony to aidmy students in foll

Fachbereich: Musik
Sprache: Englisch
Wörter: 1100
Note: n.v.

Beethoven, Ludwig van : Symphony no. 9

Ludwig van Beethoven (1770-1827): Symphony no. 9 in D
minor, opus 125, Fourth movement 23:22
Text: portions of "Ode to Joy" by Friedrich Schiller

I wrote this analysis of the last movement of Beethoven`s Ninth Symphony
to aidmy students in following along as the music played. The timings are based
onthe classic 1952 recording conducted by Arturo Toscanini (RCA Victor Gold
Seal)60256-2-RG), but the timings could be adjusted to fit any other
recording.Please keep in mind that this was written by a non-musician for
non-musiciansin a general humanities class and does not pretend to be a
technicalanalysis--just a way of helping beginning listeners to classical
musicappreciate what is going on.
Elapsed time
0:00 The movement opens agitatedly as the orchestra picks up fragments of
one theme after another from the previous three movements, as if seeking a
satisfactory vehicle for its expression; but each is discarded in
turn.
1:15 The first seven notes of the main theme to come are tentatively
uttered, but it too is abandoned as the search continues.
2:17 Once again the theme begins, this time in the woodwinds, but it soon
breaks off.
2:46 Finally, the theme emerges decisively in the basses for a subdued
first statement.
3:24 The second statement is calm, tranquil, confident, and the theme
continues onward in the various voices of the orchestra, broad and
flowing.
4:38 The winds make a strong statement of the theme.
5:49 The flow of the music abruptly halts--there are rapid shifts--great
agitation, until
6:02 the orchestra introduces the baritone singing the first three lines of
the poem, rejecting the feverish discords of the previous passage, calling for a
different music, whose nature is suggested by the strings beneath [...]

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