beethoven: the heroic period. [across the top] nb: 1 cues for the other instruments are to be...
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Beethoven:The Heroic Period
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[across the top]Nb: 1 Cues for the other instruments are to be written
into the first violin part
Sinfonia GrandeIntitulata Bonaparte
[1]804 im Augustdel Sigr.
Louis van BeethovenGeschrieben
auf BonaparteSinfonia 3 Op. 55
[at the bottom]Nb: 2. The third horn [part] is so written that it
can be played by a primario as well as a secundario
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[across the top]Nb: 1 Cues for the other instruments are to be written into the first violin part
Sinfonia Grande [written by copyist]
Intitulata Bonaparte [scratched out violently, made a hole] [1]804 im August
del Sigr. [written by copyist]
Louis van Beethoven [written by copyist]Geschrieben [in pencil, in Beethoven’s own hand]auf Bonaparte [in pencil, in Beethoven’s own hand] Sinfonia 3 Op. 55[at the bottom]Nb: 2. The third horn [part] is so written that it can be played by a primario as well as a secundario
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Beethoven’s expansion of sonata formin the Third Symphony
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Opening two chordsDeceptively simple theme for four measures
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Repeat of opening theme, ffThree-note transition figure in woodwinds (oboe, clarinet, flute)
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Second theme, alternating between woodwinds and strings
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Extended crescendo, from pp to ff, coupled with increasing note values and expansion of range
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Rhythmic energy, typical of Beethoven’s “heroic” works
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New theme introduced in the development section
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Horn entrance at “wrong” time, creating unexpected dissonance, immediately before recapitulation
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“Apparent” ending of the movement, but then Beethoven slides down three notes to begin a greatly expanded coda, a “second development”
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The real end of the first movement
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Second movement: Marcia funebreC minor again—Beethoven’s “key of tragedy”
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Third movement: Scherzo, beginning
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Trio – begun by the horns
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Acceleration, drive to the end
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Finale [begins with prolonged dominant harmony]Introduction and theme
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Fugal treatment of theme. Counterpoint becomes important in Beethoven’s middle period, and even more so in his late works.
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Closing chords, similar to opening chords of first movement, and chords that end each of the movements.