For my analysis, I have chosen two concertos in which Beethoven is performed: the first is Beethoven’s Concerto for Violin and Orchestra (performed by the Detroit Symphony Orchestra). The second is Beethoven’s Ninth Symphony (performed by the Chicago Symphony Orchestra). In the first case, the concert hall is small; it accommodates a small number of people. Therefore, natural acoustic methods of sound transmission are used to a greater extent since no strong sound is required. The Chicago Symphony Orchestra concert hall has an impressive size, so special techniques are used to improve the sound and increase the realism of sound reflections. Both stages are located in closed halls, but the Detroit Symphony Orchestra hall looks less pompous and cozier, while the Chicago Symphony Orchestra hall is more solemn and majestic.
The performance of the Ninth Symphony can be divided into four movements. The first part is an allegro sonata on a large scale: short, muted string motifs gradually become more vigorous. They gather in a firm and sharp theme together with the tones of a descending minor triad, with the dotted rhythm finally proclaimed by the entire orchestra in unison (Chicago Symphony Orchestra, 2012). Thunderous peals of canonical tutti imitations, sharp sforzandos, staccato chords draw the unfolding stubborn struggle. And then a ray of hope flashes: in the gentle two-voice singing of woodwinds, the motif of the future theme of joy appears for the first time. The part ends with a powerful sound of the heroic central music.
To embody the second part, the composer needed a more complex construction than usual. For the first time, the outer sections of the traditional three-part da capo form are written in sonata form – with exposition, elaboration, reprise, and coda. In addition, the theme is presented at a dizzyingly fast pace, polyphonically, in the form of a fugato: a single energetic, sharp rhythm permeates the entire scherzo. Skillful development is based entirely on the motives of the central part. It is characterized by polyphonic development techniques, juxtapositions of orchestral groups, rhythmic interruptions, modulations in external keys, sudden pauses, and threatening timpani solos.
Beethoven puts the slow movement in third place for the first time in the symphony — a heartfelt, philosophically profound adagio that alternates between two themes. The finale’s beginning is answered by a recitative of cellos and double basses as if challenging and then rejecting the themes of the preceding parts. The repetition of the “fanfare of horror” is followed by the ghostly background of the symphony’s beginning. Then the scherzo motif continues, and finally, the three bars of the melodious adagio are heard. In the end, a new motif appears, which is sung by woodwinds. The recitative that answers it sounds for the first time in the affirmative, in a major, directly passing into the theme of joy.
The appearance of Beethoven’s concerto for violin and orchestra is defined by images of joy, unclouded thoughts, bubbling fun. The concerto’s sonata-allegro is lyrical and active; it is based on cantilevered, mutually complementary themes. They are stricter, with features of marching side, characterized by an exceptional melodic brightness and beauty (Detroit Symphony Orchestra, 2017). The active principle is clearly expressed in the concentration, clarity, rhythmic elasticity of thematic. The orchestral exposition begins with a marching timpani motif that plays the role of the leitmotif in the first part. The energy inherent in this music sometimes takes on the characteristics of heroism — in the binding (fanfare moves, sequential development), in the orchestral tutti, in the orchestral part of the development. Contra plays a significant role of major and minor, which are here an expression of activity, but not of conflict.
Part II-Larghetto has a new aspect of the lyrics; it is softer. The roll call of timbres gives the unique poetry and colorfulness of this music. The theme of ” forest horns “(clarinets, French horns, bassoons) is accompanied by flexible melodic figures of violin solos (a variation type of development). The concert contains a brilliant example of the final rondo – the prototype of folk-genre finales in many shows of the XIX century. The appearance of the conclusion determines the refrain; at the heart of it is a village landler, exciting with its temperament, energy, impetuosity. It has bright accents and a three-tone structure of the melody.
I find Ricardo Mutti’s technical virtuosity incredibly inspiring: he is one of the most famous composers. Hilary Hahn’s subtle musicality also struck me: I made sure that she is pretty deservedly called the brightest representative of the American violin school. Of course, her well-coordinated work with the orchestra is a great credit to the talented conductor Leonard Slatkin. He accurately interprets Beethoven’s work and conveys powerful energy to the musicians of the orchestra.
Without any doubts, Beethoven’s works’ live performance differs from the recording in terms of power and expressiveness. Only after listening to the music in live performance all the grandiosity of the composer’s works can be felt. After hearing the orchestra perform live, I discovered new facets of Beethoven’s magnificent music and experienced the full range of diverse emotions-from joy to anxiety.
Beethoven’s Concerto for Violin and Orchestra touched me with the majestic simplicity of the themes, touching and sincere lyricism, noble restraint of feelings and genuine aristocracy. The latter manifests itself in the unwillingness to indulge the tastes of the audience, according to the established custom of waiting for a concert to demonstrate the virtuoso qualities of the. Meanwhile, as in the piano concertos, the composer seeks to approach the symphony here.
When listening to the 9th symphony, I am struck by the fact that singing is introduced into the symphony. It’s a bold move that was groundbreaking as the word’s concreteness was required for the final formulation of the main idea of the glorious philosophical concept. Beethoven expanded the intellectual possibilities of music and opened new paths for the symphonists of the XIX century.
References
Detroit Symphony Orchestra. (2017). Beethoven concerto for violin and orchestra – Hilary Hahn, violin; Leonard Slatkin, conductor. Web.
Chicago Symphony Orchestra. (2015). Beethoven 9 – Chicago Symphony Orchestra – Riccardo Muti. Web.