"Napoleon's imperial ambitions became clear, Beethoven took hold of the title page of his Third Symphony and scratched the name Bonaparte out so violently that he made a hole in the paper. He later changed the work's title to ""Sinfonia Eroica, composta per festeggiare il sovvenire d'un grand'uom"" (""Heroic Symphony, composed to celebrate the memory of a great man""), and he rededicated it to his patron, Prince Joseph Franz von Lobkowitz, at whose palace it was first performed. The fourth movement of his Ninth Symphony features an elaborate choral setting of Schiller's Ode ""An die Freude"" (""Ode to Joy""), an"
"Ninth Symphony and occasionally elsewhere in Beethoven's work (opening, dance movement, slow movement, finale), except that the middle part of the cycle is repeated: opening, dance movement, slow movement, dance movement, slow movement, finale. After the work's first performance, mixed reactions and his publisher's suggestion convinced Beethoven to substitute a different final movement, one much shorter and lighter than the enormous ""Große Fuge"". This new finale was written between September and November 1826—and is thus the last substantial piece of composition Beethoven completed before his death. This movement is marked: Beethoven never witnessed a performance of the quartet in its"
"with fewer or more than four movements were increasingly felt to be exceptions; they were labelled as having movements ""omitted,"" or as having ""extra"" movements. Thus, the four-movement layout was by this point standard for the string quartet, and overwhelmingly the most common for the symphony. The usual order of the four movements was: When movements appeared out of this order they would be described as ""reversed"", such as the scherzo coming before the slow movement in Beethoven's 9th Symphony. This usage would be noted by critics in the early 19th century, and it was codified into teaching soon thereafter."
"String Quartet No. 9 (Beethoven) The String Quartet No. 9 in C major, Op. 59, No. 3, was written by Ludwig van Beethoven and published in 1808. This work is the third of three of his ""Razumovsky"" cycle of string quartets, and is a product of his ""middle"" period. It consists of four movements: The introductory ""andante con moto"" section of the first movement is not directly related to the rest of the movement and serves a similar function to the introduction of his Op. 74 quartet. Thereafter, the movement's main thematic material is exposed and developed. The relation (or"
"as a slow introduction to the fifth movement, that is highly unlikely since the fourth movement is longer and more complex than the fifth. Brown's opinion, and a more likely explanation of the fifth movement's function, is that it is used as an extreme contrast to the preceding movement as was the case in Beethoven's symphony. In both of these works, the fourth movement is a highly ""specialized"" movement depicting something very specific, in Beethoven's case, a thunderstorm, and in Schumann's case, the procession in the elevation of a cardinal in a cathedral. In both these cases, the following movement"
"rigorous fugue of his Adagio and Fugue K.546. About halfway into the movement, a contrasting theme is introduced, which moves in minims. The movement concludes with an enormous Mannheim crescendo, peaking at an implicit . String Quartet No. 9 (Beethoven) The String Quartet No. 9 in C major, Op. 59, No. 3, was written by Ludwig van Beethoven and published in 1808. This work is the third of three of his ""Razumovsky"" cycle of string quartets, and is a product of his ""middle"" period. It consists of four movements: The introductory ""andante con moto"" section of the first movement is"
"often appears as a suspension. Béla Bartók wrote a study in minor 9ths for piano. The fourth movement (an intermezzo) of Robert Schumann's ""Faschingsschwank aus Wien"", is a constructed to feature prominent notes of the melody a minor ninth above the accompaniment: Alexander Scriabin's Piano Sonata No. 9, 'Black Mass' is based around the interval of a minor ninth, creating an uncomfortable and harsh sound. Several of Igor Stravinsky's works open with a striking gesture that includes the interval of a minor 9th, either as a chord: ""Les Noces"" (1923) and ""Threni"" (1958); or as an upward melodic leap: ""Capriccio"
"of Op. 74. The fourth movement of the Harp quartet follows a highly traditional theme and variations form. The Classical style of the fourth movement juxtaposed against the Heroic nature of the first movement frustrates Beethoven scholars who seek to contextualize this piece in Beethoven's stylistic trajectory. String Quartet No. 10 (Beethoven) Ludwig van Beethoven's String Quartet No. 10 in E-flat major, Op. 74, was written in 1809 and is nicknamed the ""Harp"" quartet. The nickname ""Harp"" refers to the characteristic pizzicato sections in the ""allegro"" of the first movement, where pairs of members of the quartet alternate notes in"
"the first movement, which Leonard Bernstein described as a ""mysterious introduction which hovers around minor modes, tip-toeing its tenuous weight through ambiguous unrelated keys and so reluctant to settle down into its final B major."" Hector Berlioz was so enamoured of the symphony's 2nd movement that he claimed it was the work of the Archangel Michael, and not that of a human. Robert Schumann called Beethoven's graceful Fourth Symphony ""a slender Greek maiden between two Norse giants"" (i.e., the more ponderous 3rd and 5th). According to musicologist Robert Greenberg of the San Francisco Conservatory of Music: Symphony No. 4 (Beethoven)"
"usual positions, as in Beethoven's Symphony No. 9: The first movement is a sonata form allegro with three themes. The ways Strauss develops his material in this symphony owes much to Beethoven's middle period music, in particular ""the slow movement of the Seventh Symphony (in the chromatically inflected stepwise descent at mm. 139—43 of the first movement), the development of the ""Eroica"", first movement (repeated tutti pounding of a single dissonance, in movement one, mm. 193—99), and the ""Egmont Overture"", this time in the same key (intensification through repetition of rising motive over dominant harmony, in movement four, mm. 346—49)."""
"more pleasing and more joyful ones!""). \relative c' { </score> At about 24 minutes in length, the last movement is the longest of the four movements. Indeed, it is longer than some entire symphonies of the Classical era. Its form has been disputed by musicologists, as Nicholas Cook explains: Cook gives the following table describing the form of the movement: In line with Cook's remarks, Charles Rosen characterizes the final movement as a symphony within a symphony, played without interruption. This ""inner symphony"" follows the same overall pattern as the Ninth Symphony as a whole: The movement has a thematic"
"the style and content of works that composers labeled ""symphonies"" (Anon. 2008). Some composers, including Dmitri Shostakovich, Sergei Rachmaninoff, and Carl Nielsen, continued to write in the traditional four-movement form, while other composers took different approaches: Jean Sibelius' ""Symphony No. 7"", his last, is in one movement, whereas Alan Hovhaness's Symphony No. 9, ""Saint Vartan""—originally op. 80, changed to op. 180—composed in 1949–50, is in twenty-four. A concern with unification of the traditional four-movement symphony into a single, subsuming formal conception had emerged in the late 19th century. This has been called a ""two-dimensional symphonic form"", and finds its key"
"movement. The opening imitates the style of a string quartet and features a staccato pizzicato-like bass against lyrical chords. A high degree of contrapuntal thinking is evident in Beethoven's conception of this movement. The key is the subdominant of A major, D major. Tovey wrote, ""The slow movement shows a thrilling solemnity that immediately proves the identity of the pupil of Haydn with the creator of the 9th symphony."" A short and graceful movement that is in many respects similar to a minuet. This is the first instance in his 32 numbered sonatas in which the term ""Scherzo"" is used."
"the earlier work. In addition, whether purposefully or not, Beethoven quotes a motivic figure from ""Missa Solemnis"" in the second movement of the quartet. The piece was featured in the plot of the 2012 film ""A Late Quartet"". It also featured in the Band of Brothers episode ""Why We Fight"". A fugue based on the following subject, which contains (bars 2–3) the second tetrachord of the harmonic minor scale, the unifying motif of Beethoven's last string quartets: \relative g' { </score> Richard Wagner said this movement: ""reveals the most melancholy sentiment expressed in music"". Joseph Kerman (1967, p. 330) calls"
"scholars often list it as No. 9. Following the standard symphonic form, there are four movements: The first movement begins with an extensive introduction with its own miniaturised exposition, development and recapitulation. The opening theme is used in a modified form as secondary subject matter in the main section of the movement. The rest of the movement is in sonata form with two periods for each theme and several transition themes and extra material. The opening theme of the introduction is restated in the coda before the final cadences. <score> \relative c' { </score> The second movement is in a"
"which would be a favorite form for most of Schubert's remaining symphonic slow movements. The themes in the B section are not new. They are developed from the ""Allegro"" theme of the first movement and the themes of the A section. The second appearance of B, the third return of A and the beginning of the coda have a sixteenth-note ostinato accompaniment added to help bring cohesiveness to the sections. This was a device that Beethoven had previously used in the slow movements of his Op. 18 No. 1 quartet and his ""Pathetique"" sonata. Symphony No. 4 (Schubert) Franz Schubert's"
"for a smaller orchestra. This version was published by Boosey & Hawkes as ""What the Wild Flowers Tell Me"" in 1950. The final movement was used as background music in one episode of the 1984 television series ""Call to Glory"" and on an episode of the BBC's ""Coast"" programme, during a description of the history of HMS ""Temeraire"". It also served as background music during the ""Allegory"" segment of the Athens 2004 Summer Olympics opening ceremony cultural show. A section from the Fourth Movement ""Midnight Song"" features in Luchino Visconti's 1971 film ""Death in Venice"", where it is presented as"
"wrote in 1803–1804. This is the only movement from his sonatas that Beethoven arranged for orchestra, and was played during Beethoven's own funeral procession in 1827. This sonata is also unusual in that none of its four movements is in sonata-allegro form. In most of Beethoven's four-movement sonatas, the third movement is in and in ternary form, while the second movement is slow and in a different key from the other movements. In this sonata, the second and third movements have switched roles, where the second movement is the ternary scherzo and trio, while the third movement is the slow"
"movement of Beethoven's String Quartet No. 9. The second subject group's melody can be different compared to the exposition, like Haydn's Symphony No. 44. Such melodic adjustment is common in minor-key sonata forms, when the mode of the second subject needs to be changed, for example in the opening movement of Mozart's wind serenade KV 388. The partial recapitulations sometimes briefly recapitulate the second theme in the tonic key at the end of the first theme as a ""false start"", before the transition arrives, which then the transition leads to the actual second theme in the tonic before the closing"
"the deepest melancholy on hearing my Andante [here Haydn cites the opening of the second movement of symphony no .75], because the night before he had dreamt that such an Andante was a premonition of his death. — He left immediately left the company and took to his bed, and today, the 25th of April, I learnt from Herr Barthelemon that this Protestant clergyman had died."" Elaine Sisman has postulated that Wolfgang Amadeus Mozart modeled the slow movement of his Piano Concerto No. 15 on the second movement of this symphony. The fourth movement is ""a rounded binary form with"
"with his second symphony. The trio evokes a musette with its melodies over sustained tonic (here, A) tones. It partly reuses Beethoven's Allemande WoO 81. To begin this movement (), Beethoven exposes the fourth in a three-note gesture (G–A–C) four times, with the violins and viola in unison and the cello an octave below. In m. 5, this motive is combined with an inverted variation (outlining a descending fifth) in mixed rhythm. Philip Radcliffe (1965, p. 114) says that the three-note gesture shares with the opening of the first movement “the unusual feature of beginning on the leading note of"
"a mixture of low strings and winds (i.e. cello, trombone, etc.) and contrasts with theme 1 in that it is fanfare-like; it interrupts theme 1 whenever it comes in. This movement, when performed by the Kansas City Philharmonic under Karl Krueger in 1938, had such an effect on the audience and musicians that Krueger had to interrupt the concert and repeat the movement. This movement is based on the poem, ""An Ante-Bellum Sermon"" by Dunbar, which is about emancipation and citizenship of the blacks in America. The lines quoted by Still in the score are as follows: The fourth movement,"
"This is followed by a syncopated motif characterized by descending fourths (m. 143), leading to the repeat. The trio section features three horns, the first time this had appeared in the symphonic tradition. The scherzo is then repeated in shortened form, except that very notably the second occurrence of the downward unison motif is changed to duple time (mm. 381–384). The movement ends with a coda (m. 423) – with Beethoven marking the word in the score which was unusual for him – that quickly builds from pianissimo to fortissimo, encapsulating the pattern of the whole movement. The fourth movement"
"movement is a Wedding March (""Hochzeitsmarsch"") followed by a set of 13 variations. While variations are commonly found in symphonies, it is most unusual for them to appear in the first movement. The variations offer constant changes of tempo, meter, rhythm, mood and harmony, and display his fine craftsmanship. The second movement is a Bridal Song (""Brautlied""). The third movement, ""Serenade"", opens with a theme played by two oboes, later developed by the strings. It includes an imitation of bagpipes, played on oboe, clarinet, bassoon and cellos. The fourth movement, In the Garden (""Im Garten""), is slow and lyrical, its"
"Symphony No. 4 (Martinů) The Symphony No. 4, H. 305, by Bohuslav Martinů was composed in New York City from April 1945, and completed at Martinů's summer home at Cape Cod in June 1945. The finale bears the inscription ""South Orleans, 14th June, 1945"". The work is in four movements and, according to the composer, grows out of a single motif. The first movement alternates between lyrical and rhythmical material presented in variation. The second movement, in 6/8 time is a Scherzo, marked by a rhythmically irregular Dvořákian leading melody. The slow third movement is dominated by the strings with"
"perform. In general the symphony is sunny and cheerful, with light instrumentation that recalls the symphonies of Joseph Haydn, with whom Beethoven had studied a decade before. The Fourth Symphony contrasts with Beethoven's composition style in the previous Third Symphony, and is often overshadowed by both its predecessor and succeeding work, the celebrated Fifth Symphony which Beethoven had set aside to complete the Fourth. Despite being written in a style more akin to that of Beethoven's first two symphonies, the Fourth contains many aspects that show his growing strength as a composer, most notably the B minor Adagio introduction to"
"in the middle of the symphony. The thematic construction uses long beautiful themes that are constantly being pushed along by this friendly little motif of four chromatically ascending sixteenth notes, often on the fourth beat of a measure. The Fourth movement, ""Feierlich"" (solemn), though written with three flats as the key signature, is in E-flat minor. The movement begins with a sforzando eight note E-flat minor chord in the strings that moves immediately into a pianissimo French horn and trombone chorale. This beautiful and hauntingly quiet low brass writing is a notoriously difficult spot in performances since the trombones haven’t"
"context. Napoleon had invaded Vienna earlier that year, and this upset Beethoven greatly. All of his aristocratic friends had fled Vienna, but Beethoven stayed and dramatically complained about the loud bombings. The quartet is in four movements: This movement is in sonata form. As Arnold Schoenberg notes in an essay reprinted in the collection ""Style and Idea"", most of the themes and events of this movement – and the main theme of the second movement – contain some form of the motive D–C–D–E found in the second bar, even if transposed and changed in some way. This movement is in"
"movement ends with simple alternating fourth in the lower strings, notably the key motif from the first movement. The fourth movement is by far the most involved, and expansive. It brings back several elements from the first movement, unifying the symphony as a whole. The movement begins with an abrupt cymbal crash, a loud chord in the upper woodwinds, string and brass, and a bass drum roll, all in succession. This contrasts greatly with the end of the third movement. As the strings continue in a frenzy of notes, fragments of a theme in F minor appear, presented forcefully in"
"poor health, including ringing in his ears, prevented him finishing the work until October 19. Publication followed in 1847. The uplifting tone of the symphony is remarkable in the face of Schumann's health problems—the work can be seen as a Beethovenian triumph over fate/pessimism. It is written in the traditional four-movement form, and as often in the nineteenth century the Scherzo precedes the Adagio. All four movements are in C major, except the first part of the slow movement (in C minor); the work is thus homotonal: The first movement begins with a slow brass chorale, elements of which recur"
"After hearing this slow movement, Johannes Brahms is said to have remarked, 'I want my Ninth Symphony to sound like this'. It is the first of Haydn's symphonies to use trumpets and timpani in the slow movement. Mozart had previously used trumpets and timpani in the slow movement of his Linz Symphony. The minuet is in G major. The trio has an unusual feature to it: after stating a rather simple theme, the fifths held in the bassoons and violas shift down a fourth in parallel, an effect typically avoided by the classical composers. The finale is a sonata-rondo, with"
"Little Symphony No. 4 (Milhaud) Little (Chamber) Symphony No.4: (Dixtour pour instruments à cordes), Op.74, by Darius Milhaud is a work for 10 string instruments composed in Vienna in 1921. It is not to be confused with Symphony No.4. The music is polytonal and progresses through a variety of contrasting moods. The first two movements employ ostinatos to repeat basic musical ideas. The first movement is marked “Animé”. It is a lively dance in triple meter and stylistically refers back to the baroque period. The second movement is marked “Assez lent” and features multiple double bass solos. The final movement"
"Piano Sonata No. 9 (Beethoven) The Piano Sonata No. 9 in E major, Op. 14, No. 1, is an early-period work by Ludwig van Beethoven, dedicated to Baroness Josefa von Braun, one of his patrons at that time. It was composed in 1798 and arranged for string quartet by the composer in 1801 (Hess 34), the result containing more quartet-like passagework and in the more comfortable key of F major. The sonata is in three movements: The first movement opens with a series of ascending fourths in the right hand, followed by a quartet-like echoing of a phrase in different"