Erik Rooney

Dr. Irving

Mus 300-01W

May 8, 2014

Beethoven: The Darer

From the time I was in kindergarten, I have had a great respect for Beethoven and his

music. When I was in second grade I dressed up as Beethoven at a biography breakfast – a much

more interesting choice than my contemporaries, but who remembers any of their choices

anyway? Beethoven definitely overshadowed them, a tremendous historical figure, who could

compete? When I attended Beth-wood Suzuki music school I performed one of his minuets in a

recital (this was back in the early 21st century). Beethoven’s music always seemed to speak to

me the most out of any of the classical pieces I had to learn at Suzuki. When I gained more

experience with his music in high school I began to understand why he leaves a bigger

impression than Bach, Robert or Clara Schumann, Brahms, Schubert or Mozart do, even though

consider these composers musical geniuses.

When I started listening to the dynamics in Beethoven’s music, I discovered something

different. Sudden jabs from soft to loud and back to soft again, gradual crescendos that die out

unexpectedly early; these are some of the things that make me associate Beethoven with the

words: crazy, bipolar, paranoid – yet these words don’t do justice to the sensitive soul Beethoven

also seems to exhibit. No, Beethoven just highlights the realities of life – the harsh extremes of

dynamics and dissonance, and the more tame sections of music with regal consonance.

Beethoven expresses himself like no other composer; breaking out of pretense and telling it like

it is. This pretense does sometimes resurface prominently.

The main thing that I have noticed about both the Beethoven class and the Mozart class is

that it exposes me to repertoire that I may not have ever been exposed to (even as somebody who

loves Beethoven’s music) without taking the course. It also presents opportunities for seeing

world-renowned performers performing the music we are studying. He devotes so much of his

attention to the details of the score and how to really communicate Beethoven’s meaning behind

the notes rather than common interpretations that just get a skeletal outline of Beethoven’s

composition.

The sheer emotion devoted to this piece changed how I think about the piece. The first

movement is often played by beginning piano players, and it is just so boring. When Gerald

plays this, he erases all doubt that this is a serious piece of music and is meant to be given a

serious amount of attention; not only by the performer, but the audience as well. I discovered that

I easily dismiss great pieces of music just because they are popular among non-musicians. No

longer will I take popular classical repertoire for granted just because it is often interpreted

incorrectly. It helped me to pay more attention to my pieces for my lessons after watching Gerald

Robbins’ performance.

One major touch-point of Beethoven’s compositional style is his driving rhythmic

patterns. In the Pathetique sonata, he uses several rhythmic patterns throughout the entire first

movement. The first rhythmic pattern is in the Grave section of the movement. Beethoven uses

sixteenth note syncopation to drive even a slow tempo forward with energy. When the texture

changes from homo-rhythmic to a melody and accompaniment, the same rhythmic pattern stays

in the melody; repeating his theme for the listener often in the exhibition, so as not to be

misheard. The juxtaposition of the different textures suggests that Beethoven is putting this

theme into extreme contexts. In effect, Beethoven shows us that something said in one moment

can in the next moment have completely different meaning. This driving rhythm is also present

in the Eroica Symphony (No. 3). The orchestral hits in the beginning are like the beginning of a

horse race; 0-30mph (how fast do horses run?) instantaneously. The bass-arpeggiation in the

cello part is like the announcer, narrating the changes a moment after they occur. Another thing

that Beethoven does a lot in his composition is imitation. Beethoven has found a unique way to

make these imitations between voices sound almost like people talking to each other, even on the

same instrument.

In the Pathetique sonata, there is a part where the right hand crosses over to play a bass-

line that is then imitated in the higher register by the right hand. It’s like a couple arguing, since

the exchanges are quick and intense. Yet Beethoven keeps the line soft, labeling clear climaxes

to the phrases with sfzorzandi, then immediately brings it back down. This element is crucial to

Beethoven’s style, in the fifth symphony he also uses an imitation among sections where

dynamics play a huge role in the effect the music has on the listener. It draws you in more when

it is soft and suddenly and unexpectedly harsh.

Even though Beethoven’s music is so reliant on harmony and rhythm, often the thing that

has the most impression on the listener is the melody. The following is a quote from Beethoven

Hero by Scott Burnham:

With these words, written on the occasion of the Beethoven centenary in 1870, Richard

Wagner specifically locates Beethoven’s historical importance in a radical vitalization of

musical language, in which every peripheral detail becomes galvanized with significance,

as part of a unitary and unmediated effusion. When he exclaims that “everything becomes

melody,” that the entire musical texture assumes the forward flow of a melodic line,

Wagner employs the concept of melody figuratively in order to characterize the feeling of

engagement elicited by Beethoven’s music. He thus provides the reception of the heroic

style with a guiding metaphor: the concept of line, of a never-flagging sense of presence.

But if it is in fact generally acknowledged that we hear the works of the heroic style in

this way, to what do we owe the impression not only of an ever-present effusion but of an

engaging and irresistible surge that actually seems to carry us along instead of flowing

past us? (Burnham 31)

This quote is referring to a quote by Richard Wagner where he claims that “everything becomes

melody, every voice in the accompaniment, every rhythm, even the pauses.” This is archetypal of

all of Beethoven’s music because the line is one of the most important things in his music. It is

important because he is so innovative with how he uses melody – the melody will sometimes be

where you least expect it. For example, in the Pathetique sonata, the harmony seems way more

important than the melodic lines during the flowing arpeggios with both hands. However, when

you look at the melody, it is really an outer-voice contrary motion melody. In effect, the bass

becomes its own melody. That is why melody is everything in Beethoven’s music, it makes the

difference between artists using conventional textures, and Beethoven, never settling on one.

Another major aspect of Beethoven’s compositional style is the idea of tension and

release. Here is another quote from Beethoven Hero discussing this aspect:

Despite the immediate effect of a release of long-ranging tension, Beethoven’s

recapitulations do not signal the arrival of stability. His use of initial thematic

material that is extremely unsettling automatically problematizes the recapitulation

as a return to some sort of normality. Not for a moment is the listener encouraged

to let his or her attention to the unfolding events flag, for where one might expect

the festivities of a homecoming Beethoven will often change course dramatically.

In the first movements of both the Fifth Symphony and the Eroica, the

recapitulation actually commences in a relaxed state, not sustaining the feeling of

a strong syntactic arrival. In the Fifth Symphony, the recapitulated theme has

nothing like the unmitigated urgency of its counterpart in the exposition. It is now

sweetened with woodwind embellishments, culminating in the famous oboe

cadenza. The fermata following this cadenza is phenomenologically different from

the one in bar 21; because the phrase that follows is shorn of its hortatory Ab and

F (which we have heard in profusion just a few moments earlier), the high drama

of the first violin’s G leading to the Ab and F is no longer appropriate here.

Instead we hear something like a sigh of resignation; the oboe does in fact sound

the high G of the dominant sonority (as the climax of a melodic line begun back at

bar 254) but then descends, with a world-weary flourish, to the lesser energy level

of the fifth, D, from which the next phrase–now without its exordium–continues.

The oboe’s line thus attenuates the native urgency of this passage; it is now

relaxed enough (or perhaps resigned enough) to sing. (Burnham 50)

As Burnham proves, Beethoven does not resolve as composers typically would. Just like

his attention to dynamics is atypical of his contemporaries, this difference in resolution is

a cornerstone of Beethoven’s compositional style. The shock value of the famous oboe

cadenza in his 5th symphony is very impressive. This is why the cadenza is so famous,

because in less than 15 seconds Beethoven accomplishes so much. It is a “heroic”

cadenza because it dares to be different. That is all the heroic music of Beethoven does; it

dares to be different, it dares to be itself. Beethoven is the epitome of music because he

does not just disobey the set conventions for rhythm, dynamics, and recapitulation; he

utterly ignores them (not to say he is not aware of them). Beethoven’s music just works

as its own heroic entity, and I wouldn’t have it any other way.

Works Cited Burnham, Scott. Beethoven Hero. Princeton, NJ: Princeton University Press, 1995.