3/12 Symphony 8 (Järvi) / Piano Sonatas Op. 109, 110 (Gould, Gampel)

Maestro Paavo Järvi

Posting a kind of mixed program today.
First, let's step inside the smaller parlor for Alan Gampel's fine performance of Piano Sonata #31 In Ab, Op.110 (1822):

Alan Gampel from the USA begins his semi-final recital in the 1991 GPA Dublin International Piano Competition, the second in the series. He qualified to play in the final round, and won 6th prize. Eighteen competitors progressed far enough in the competition for their choice to be heard. Alan Gampel was also a semi-finalist in the first competition of the series in 1988. He gives a short interview at the end of this sonata. (17:30,w interview 22 min)

Link   (from Fredobel51)

In the adjoining gallery we have Mr Glenn Gould, no stranger to the Daily Beethoven, performing
Piano Sonata #30 In E, Op.109 (1820) (13 min)

Playlist     (from Stravinskij0)
(Mr Gould's "cut off" introduction above can be found here: http://www.youtube.com/watch?v=ztt1Z_90aag.)

Finally, in the Grand Concert Hall, we find our old friend Paavo Järvi and the Deutsche Kammerphilharmonie Bremen with a blazing version of Beethoven's 8th Symphony. (from giannibodoar, 23 min)
Symphony No.8 in F major, Op.93 (1812)

Playlist

11/18 Symphony No. 5, Pt 2 (Analysis, Järvi)

Kandinsky, "All Saints I"

Continued from yesterday, the conclusion to Beethoven's 5th Symphony with annotations....

Beethoven, Symphony 5 in C minor, op.67 (1808)
Movement III and IV

Movement III

Scherzo 1

-A - dark C minor ascending, descending phrase - open cadence

-B - "victory" 4-note motif returns from the 1st mvmt - open cadence

-A1 - same dark Cm phrase but in B flat

-B1 - 4-note victory motif modulates from C to F minor - open cadence

-A2 - some B elements hide in strings - Violins introduce a new spritely counter melody

-B2 - final dramatic Victory motif w closed cadence before Trio

Trio

-C - fast (comical?) C Major fugue figure starting in low strings

-D - stop-start variation

-C1 - additional strings rejoin the fray, followed by winds/horns

-D - stop-start repeated

-C2 - varying dynamics, eventually flutes lead downward disintegration

Scherzo 2

-A3 - dark yet light, into pizzicato strings

-B3 - Victory motif now tiptoed in shy winds, tiptoeing around the previously fanfarish theme - open cadence

-A4 - dark Cm theme in quiet mode w horn accents

-B4 - simplifying victory motif...leading to Deceptive Cadence

Transition to the Finale - heavy and dark w martial percussion

-----------------------------------------------------------------------------------------------

Movement IV - Finale - Allegro

Exposition

-Theme 1

--Pt 1 - New Victory motif in C Major as trombones, piccolos and contrabassoons join in

--Pt 2 - vibrating strings vs massed horns and winds

--Modulating Bridge sneaks in

-Theme 2

--A - 4 note rising/falling motif - open cadence

-Cadence section

 -A, A1

Exposition Repeat

Development

-Pt 1 - Modulation from previous phrase

-Pt 2 - Theme 2, fragmented and varied

-Pt 3 - 3-note motif in bass surfaces against Theme 2

-Pt 4 - new 4-note machine gun motif emerges in brass

-Pt 5 - Climax section with multiple layers

-Pt 6 - Sudden landing into tiptoe victory phrase in C minor from Movement 3

Recapitulation

-Theme 1

--Pt 1 - back to C Major

--Pt 2 - as before

--Mod Bridge

-Theme 2

--A - rising/falling

-Cadence section first light, then bigger

Coda

-Pt 1 - Strings and winds vs ascending 3-note motif from development Pt 3

-Pt 2 - Drama increases into ending tutti?

-Pt 3 - No - motif from Theme 1 returns

-Pt 4 - rhythm becomes oddly accented on upbeats, accelerating polka

-Pt 5 - Presto - Fast version of cadence motif theme returns

-Pt 6 - Final fanfare of opening Victory motif

-Pt 7 - cadencing back and forth until the real ending tutti

(Analysed with some assistance from Robert Greenberg's Teaching Company Wordscore guide.)

Wow - it's not the most famous symphony of all time for nothing. Here's some other great sites devoted to the 5th Symphony....
http://theoryofmusic.wordpress.com/2009/09/04/beethoven-symphony-no-5-form-of-movements-2-4/
http://www.aeiou.at/bt-sym5.htm;internal&action=_setlanguage.action?LANGUAGE=en
http://genedelisa.com/2008/04/beethoven-symphony-no-5/
http://phoenix.liu.edu/~jmeschi/Flash/b5/b5.htm
And of course there's MAM:


Carlos Kleiber's CD recording of the 5th is largely considered the "best" - sadly the only live video I could find was this one - a staggering performance marred by some inept TV editing..but it's still interesting....


I recently rewatched my old analyses of Symphonies 1 and 2 and they are definitely showing their age (and my relative inexperience at the time with this Youtube annotation thing. I'm going to put off the 6th for awhile and possibly polish up the old ones...

11/17 Symphony No. 5, Pt 1 (Analysis, Järvi)

(Kandinsky's St George and the Dragon)

Today and tomorrow I annotate the single most famous orchestral work since Star Wars.  :).  There are innumerable websites devoted to the 5th Symphony, I'll list a few tomorrow I guess.  Here's part 1 of my 2-part post covering all 4 movements...  Oh yeah, Paavo Järvi and the Deutsche Kammerphilharmonie Bremen are back with us for one more analysis!

Beethoven, Symphony 5 in C minor, op.67 (1808)
Movement I:  Allegro con brio

Exposition

-Theme 1

--A - full motif statement open cadence

--A1 - sequenced variation

--Modulating Bridge leading to Open Cadence

-Theme 2 in Eb

-Cadence section

--Pt 1 - victorious

--Pt 2 - Theme 1 motif in winds ; closed cadence

Exposition Repeat

Development

-Pt 1 - Theme 1 motif is transformed from victory to foreboding

-Pt 2 - orchestra builds into a dissonant climax

-Pt 3 - Theme 2 "horn calls in strings

-Pt 4 - more fragmentation of theme 2 - strings vs winds - the battle recedes...except for one last volley

-Pt 5 - retransition using Theme 1 motif of victory

Recapitulation

-Theme 1

--A

--open cadence leading to mournful oboe cadenza from out of nowhere

--A1 - building sequences

--Modulating Bridge ; open cadence

-Theme 2

-Cadence

--Pt 1 - Glorious with accents on upbeat

--Pt 2

-Coda

--Pt 1 - anguished Theme 1 motif

--Pt 2 - Horn call motif low strings and bassoon

--Pt 3 - 2-note march motif

--Pt 4 - slamming chords, strings and winds battle again...fragmentation

--Pt 5 - Theme 1 motif returns in "suspended form"

--Pt 6 - RECAP #2 -A - Victory motif, tentatively, before a final tutti cadence

Movement II - Andante con moto

Statement of main formula

-A - lyric melody in Ab Major (dolce)

-Romance Cadence

-B - theme actually a variation of fragment of A

-B1 - grand version in C Major

-open cadence

Variation I (semi-Expo repeat)

-A1 - faster subdivided rhythm

-Romance cadence

-B2 - more intricate accompaniment

-B3 - grand variation

-open cadence

Variation II (Development)

-A2 - variation w 12 notes each bar

-A3 - winds add counter

-A4 - low strings pick up previous phrase -ascending scales lead to open cadence

-A5 - winds highlighted leading to modulating variations

-B4 - Grand theme in C Major returns 3rd time

-A6 - rustic variation

Variation III (Recapitulation)

-A7 - vibrating strings support lyric melody

-Romance Cadence

-A8 - Suddenly a jaunty variation interrupts the wind down

-Romance Cadence reasserts itself even more fervently

-Coda w lyric theme motifs (A9)

Movements 3 and 4 tomorrow......

(Analysed with the assistance of Robert Greenberg's Teaching Company Wordscore guide., The videos were originally uploaded to Youtube by Beethofan)

11/4 Symphony No. 3 "Eroica", Pt 3 (Analysis, Järvi)

...Conclusion of my analysis of Beethoven's 3rd Symphony "Eroica" as performed by Paavo Järvi and the Deutsche Kammerphilharmonie Bremen:
Symphony 3, Movement 4: Allegro molto

I'm not really going to list all the sections - it's kind of meaningless since this movement is a series of variations on 2 themes interrupted by 2 crazy fugues - just enjoy it!

Here's the WHOLE annotated symphony, Movements 1 thru 4 in a playlist:

Linklist 
In the annotations for this symphony it was really hard for me not to get all "poetical" - it's just so evocative and epic. My favorite symphony...

For more on the Eroica here are some great links:
http://www.aeiou.at/bt-ero.htm;internal&action=_setlanguage.action?LANGUAGE=en
http://www.allthingsbeethoven.com/
http://www.lvbeethoven.com/Oeuvres_Presentation/Presentation-Symphony-3-Eroica.html
www.beethovenseroica.com
http://www.grunin.com/eroica/

My previous posts on the Eroica:
Part 1 Analysis
Part 2 Analysis
http://lvbandmore.blogspot.com/2010/07/728-eroica-revolution-symphony.html
http://lvbandmore.blogspot.com/2010/08/814-eroica-movie-norrington-session.html
http://lvbandmore.blogspot.com/2010/08/815-eroica-2-documentaries-with-mtt.html

11/3 Symphony No. 3 "Eroica", Pt 2 (Analysis, Järvi)

My analysis of Beethoven's 3rd Symphony "Eroica" as performed by Paavo Järvi and the Deutsche Kammerphilharmonie Bremen continues with Movement 2, the Funeral March:

Part 1 - Funeral March (C minor)

A - March theme

A1 - expansion of theme (oboe)

B - Eb Major theme lightens the mood, before relapse into seriousness, leading to Open Cadence

A

B1

A

Codetta into Open Cadence

Part 2 "Redemption" in C Major

Redemption Theme

Redemption theme development

Heavy mood returns leading to Open Cadence

Part 3 Funeral March with Fugue interlude

A

Fugue section - subject based on inverted B motif

Fugue reaches a breaking point - leasing into an Open Cadence

March returns, briefly - before it is sabotaged by low attacks

Part 4 - Funeral March (3rd time)

A

B

Codetta - Deceptive Cadence

Part 5 - Coda - starts with string ticks...

Redemption theme variation

Redemption theme disintegrates into march

Final march iteration

Movement 3, Scherzo/Trio:

Movement III

SCHERZO

Introduction - duple string chatter

A - Scherzo theme in Bb Major

A - in F Major, Chatter reduces to low staccatos

A - small then big

B - Syncopations in Eb

Cadence phrase leads to Open Cadence

Scherzo repeat, 2nd time Cadence phrase leads to Closed Cadence

TRIO

C - winds theme

D - rustic

C1

D (repeat)

C1 (repeat)

SCHERZO (return)

Coda

(Analysed with the assistance of Robert Greenberg's Teaching Company Wordscore guide. I differed from his analysis here and there but the section breaks are pretty close to his)

Finale tomorrow...

11/2 Symphony No. 3 "Eroica", Pt 1 (Analysis, Järvi)

Kandinsky - "Around the Line"

It's been a long while since I did any analysis here...a whole month!  Well I'm going to remedy that by covering the Eroica for the next few days.  One of the highlights of my recent trip was seeing Paavo Järvi and the Deutsche Kammerphilharmonie Bremen perform Beethoven's 3rd Symphony, the Eroica.  It happens that Järvi and Co performed this in 2006 in Japan and the whole thing is on Youtube.  I annotated it based on sonata form structures and present it below....you'll notice that I don't use too much "poetic" language - I hate to do that because if I say this is "cannons firing" or "horses galloping" it limits what it might mean to someone else, and it can also be misleading concerning the intentions of the composer....I did let a few sentiments slip through though.....

Symphony 3 (Eroica) in E flat major, op.55, Movement I:

Part 1

Symphony 3, Movement 1 (Eb)
Exposition
Theme 1 in Eb (I)
A - Triadic motif with dissonant C#
A1 - variation avoids dissonance
B - syncopation section
A2 - triad theme BIG
Theme 2 in Bb (V)
Pt 1 - Lyrical counter theme
Pt 2 - tuttis add drama
Pt 3 - Rhythmic variations leading to big descending scale
Theme 3 in Bb, led by winds
Supported by strings
Low strings add serious weight
Build up to Cadence section
Cadence in Bb
Pt 1 - heroic, march-like
Pt 2 - Hemiola syncopation
Pt 3 - Pairs of tuttis become single tuttis
Pt 4 - Theme 1 motifs re-emerge, leading to expo repeat


Expo Repeat


Development
Pt 1 Instead of 2 big tuttis, we get hushed calm
Pt 2 - uses Theme 2 Pt 1 motifs
Pt 3 - Theme 1 triad becomes minor and repeats higher and higher
Pt 4 Theme 1 sequencing alternates with dramatic textures
Pt 5 Theme 2 Pt 1 again
Pt 6 - Fugal section using previous motifs
Pt 7 - Fugue explodes into dissonant chords crashing and burning ;)
Pt 8 - Theme 4 - "sadly assessing the battlefield"
Pt 9 - Theme 1 motifs varied
Pt 10 - Theme 4 again
Pt 11 Theme 1 returns...(continued)

Part 2

Development (continued) 0:00
Pt 11 - Theme 1 variations lead into 0:00
Pt 12 hushed harmonies, interrupted by early horn entrance 0:47

Recapitulation 1:06
Theme 1 in Eb, but minus the dissonant C# 1:06
A 1:06
A3 (no B section this time) 1:17
A2 1:40
Theme 2 (in Eb) 2:00
Pt 1 2:00
Pt 2 2:11
Pt 3 2:22
Theme 3 in Eb 2:41
low recitative section building to Cadence 2:56
Cadence 3:12
Pt 1 3:12
Pt 2 - Hemiolas 3:21
Pt 3 - pairs become singles 3:28
Pt 4 - triad motifs from Theme 1 3:39

Coda 4:02
Pt 1 - Theme 1 sequences 4:02
Pt 2 - Theme 1 motifs with fugue subject counter 4:16
Pt 3 - Theme 4 4:31
Pt 4 - Fugue subject resurfaces 4:46
Pt 5 - Theme 1 motifs 4:55
Pt 6 - Theme 1 with thickening texture 5:26
Pt 7 - Theme 2 Pt 2 6:11
Pt 8 - Syncopation leading to huge ending 6:20

(Analysed with the assistance of Robert Greenberg's Teaching Company Wordscore guide. I differed from his analysis here and there but the section breaks are pretty close to his)

Movement II tomorrow.

9/30 Symphony No. 2, Pt 2 (Analysis, Järvi)

(Blue Chrome Kandinsky)

Continued from yesterday, Symphony 2, Movements 3 and 4....this flat out rocks!


Summary of Annotations
M3 – Scherzo allegro ¾
Scherzo
    A, A1
    A, A1 2nd time
    B
    A2
    B1
    B 2nd time
    A2
    B1
Trio
    C
    D
    C, C1
    C 2nd time
    D
    C, C1
Repeat Scherzo
    A, A1
    A, A1 2nd time
    B
    A2
    B1

M4 – Allegro molto 2/2
Exposition
    Theme 1
        A, A1, B
    Bridge
    Theme 2
        A, A1
    Codetta
Development
Recapitulation
    Theme 1
        A, A1, B
    Bridge
    Theme 2
        A, A1
    Codetta
Coda

Performed by the Deutsche Kammerphilharmonie Bremen with Paavo Järvi, 2006.

(Analysed with the assistance of Robert Greenberg's Teaching Company Wordscore guide.)

9/29 Symphony No. 2, Pt 1 (Analysis, Järvi)

(Rusty Kandinsky)

Today is part of a continuing series of structural analyses of Beethoven's 9 Symphonies.  Last week I did the 1st Symphony and so this week is the 2nd Symphony (logic dictates that next week will feature the 3rd Symphony but my vacation plans may dictate otherwise).

SYMPHONY No.2 in D major, op.36 (1803),
I. Adagio - Allegro con brio

Summary of Annotations
Introduction – Adagio molto ¾
Exposition – Allegro con brio 4/4
    Theme 1
        A, A1
    Modulating Bridge
    Theme 2
        A , A1, B, C
    Codetta
Exposition Repeat
Development
Recapitulation
    Theme 1
        A2
    Modulating Bridge
    Theme 2
        A, A1, B, C
    Codetta
Coda

II: Largetto

Summary of Annotations
Exposition
    Theme 1
        A , A1
        B , B1
    Bridge
    Theme 2
        A, A1
        B, B1
        C
    Codetta
Development
Recapitulation
    Theme 1
        A, A1
        B, B1
    Bridge
    Theme 2
        A, A1, B, B1, C
    Codetta
Coda

Performed by the Deutsche Kammerphilharmonie Bremen with Paavo Järvi, 2006.

(Analysed with the assistance of Robert Greenberg's Teaching Company Wordscore guide.)

9/23 Symphony No.1, Pt 2 (Analysis, Järvi)

(Kandinsky recolored)

Analyzing/annotating the 3rd and 4th movements of Beethoven's Symphony 1 in C....continued from yesterday.

Symphony No. 1 
Movements 3 (Menuetto. Allegro molto e vivace) and 4 (Adagio - Allegro molto e vivace)

Summary of annotations:
Movement III:
Minuet
  A - A
  B - A1 -B - A1
Trio
  C - D - C1 - D - C1
Minuet (Repeat)
  A - A
  B - A1 -B - A1

Movement IV:
Introduction
Exposition
  Theme 1 (A, B)
  Theme 2 (A, B)
  Codetta
Exposition Repeat
  Theme 1 (A, B)
  Theme 2 (A, B)
  Codetta
Development
Recapitulation
  Theme 1 (A, B, B1)
  Theme 2
  Codetta
Coda

Performed by the Deutsche Kammerphilharmonie Bremen with Paavo Järvi, 2006.
(Analysed with the assistance of Robert Greenberg's Teaching Company Wordscore guide.)
For some more analysis this is a pretty interesting write-up..

9/22 Symphony No.1, Pt 1 (Analysis, Järvi)

(Kandinsky is very musical.)

OK, I'm going to post some structural analyses of the symphonies from time to time.  This is a series of posts which will no doubt get updated and revised well after it's first posting....

First I'd like Maestro Paavo Järvi to introduce the Beethoven Symphonies:

Thanks Paavo!  OK, I'm going to present these structural analyses in the form of Youtube "annotations" - my new toy.  The nice thing is I can also present some of my favorite video performances even if the analysis part is boring for you!  If you don't want to see my theme annotations you can just turn them off.  Or watch it twice?

Symphony No.1 in C Major, Op.21 (1800)

Movement 1 - Allegro con brio

Summary of annotations:

Introduction

Exposition

  Theme 1 (A, A1, A2)

  Theme 2 (A, A1, B, A2)

  Codetta

Exposition Repeat

Development

Recapitulation

  Theme 1 w variation (A, A1, A2)

  Theme 2 (A, A2, B, A2)

  Codetta

Coda

Movement 2 - Andante cantabile con moto

Exposition

  Theme 1 (Fugato)

  Theme 2 (A, A1, B, B1)

  Codetta

Exposition Repeat

Development

Recapitulation

  Theme 1 variation

  Theme 2 (A, A1, B, B1)

  Codetta

Coda

 

Performed by the Deutsche Kammerphilharmonie Bremen with Paavo Järvi, 2006.

(Analysed with the assistance of Robert Greenberg's Teaching Company Wordscore guide.)

7/21 1st chord of 1st Symphony

The first chord of Beethoven's first Symphony in C is a seventh chord. It's actually the chord of C which is the key of the piece, but because it's a 7th it's unstable and has to resolve to F. Not C! Not only that but the strings are played pizzicato. The work is unmistakable from the very first note. Even in his first major orchestral statement he's approaching an original and revolutionary stance. This was not the first time a dominant 7th chord opened a symphony but it was still a pretty cheeky move for a relatively unknown composer. Funnily enough, around this time a review of B's Clarinet trio in the AMZ music review said that he could never hope to become famous unless he tried to "write more naturally" (Burk).

Here's a great Paavo Jaarvi performance of Beethoven's 1st: