January 23, 2014 – History IV
• 5 Symphony in C minor: very compact, movements are all linked by the use of a
common motive (repeated note motive). Last two movements are literally linked together
(C.P.E. Bach). Triumphant conclusion in c major (overcome adversity). 3 trombones,
(hadn’t been used in symphonies before) contrabassoon, piccolo… dynamic
concentrated music. Premiered with the 6 symphony (opposite to the 5 ) 1806, huge
o Cyclic symphony: working and reworking a motive
o 2 movement: intense interruptions that aren’t resolved until last movement.
o 3 movement: ghost like, almost fugue like passage with bass and cellos.
o Highly concentrated powerful music
o Triumphant finale in C major -> weight on finale as transformation of general
affect of the work.
E.T.A. Hauffman: talks of the move from the Golden age: (Haydn’s symphonies are childlike, life
of love, life before sin, garden of Eden) (Mozart’s symphonies: love and melancholy, move
towards indescribable longing,) (Beethoven’s symphonies: immeasurable, sublime, shadows
destroy everything within us, the pain suffocates but love and hope burst through from pain)
Late period. 1814-1816: extremely popular in Vienna. Isolation in deafness. Completes on a few
pieces (foreshadowing early romantic). Hammer clavier (1817): extremely difficult piano piece,
uses every fugue technique. This piece opened the floodgates yet again!
• Characteristics of his late style: present throughout his lifetime but more intensely during
his late period.
o Increasing lyricism: 1) in