Beethoven

The ManThe MusicThe Genius!

TASK: Familiarise yourself with the score for
Beethovens Violin Concerto in D major (1 st
movement) - get ready to follow this through with
the music.

Ludwig van Beethoven (17701827)

A fiery character violent mood swings.
Suffered from various illnesses most

prominent was deafness.

Never married so never had any children.
A meticulous composer a perfectionist.
Hailed as the second Mozart.
Fan of Haydns work.

The Classical Period

Tonic-dominant alternation
Balanced phrases (question & answer/four bar phrases)
Introduction of the piano
Gradual phasing out of the basso continuo and the establishment of

a conductor
A more varied orchestra including clarinets (Bb)
Prominence of melody and accompaniment
Symphony, sonata, string quartet , concerto
Alberti bass
Graded dynamics
Sonata form
Fewer ornaments than Baroque music
Quick change of mood

The Background
Concerto in D major for Violin & Orchestra, op. 61
Written & performed in 1806
Composed for violinist Franz Clement a benefit concert to raise money

for Clement. Musicians often did this to supplement their income when
they were not well-paid.
Orchestral musicians would offer their services for free to help out their
fellow musicians.
Performed in the Theater an der Wien in Vienna (23 rd December 1806)
First performance was not a success the piece became neglected for
several decades afterwards.
The work was supposedly finished so late that there wasnt any time for
any proper rehearsals.
Beethoven later arranged it for piano (his own instrument) but again, it
was not really a success.
The piece was composed for Franz Clement to play but was dedicated to
Stephan von Breuning.
Beethoven only wrote one Violin Concerto in his lifetime.

Further Background the

circumstances
1792 Beethoven arrives in Vienna to have lessons with Haydn.
Beethoven was identified as a second Mozart.
Haydn was supposed to take Beethoven to London but this didnt

happen and he passed on his teaching duties.

Vienna was ruled by the Hapsburg family imperial bureaucrats
(aristocracy).
Opportunities in Vienna attracted many musicians from all over
Europe.
The imperial court promoted church, opera, dance and instrumental
music musicians earned wages through patronage from the nobility.
Many of Beethovens performances & compositions were for private
aristocratic society he also gave lessons to members of the nobility.
Composed more slowly than Vivaldi or Haydn 9 symphonies & 7
concertos is small compared to Haydns 100 symphonies & Vivaldis
500 concertos.
Beethoven composed using sketchbooks of ideas, drafting & redrafting melodies.

Associated names: Clement &

Breuning
Franz Clement an Austrian violinist, pianist, composer active in

Vienna.
Known for his virtuosic playing able to briefly look at a complex
piece of music and play it from memory.
Known for his antics playing his violin upside down, only using one
string.
Stephan von Breuning close friend to Beethoven from childhood.
Beethoven taught the younger Breuning children the piano in the
1780s.
Lived together in Vienna for a short time in 1804.
He put up with Beethovens fiery outbursts and
mistreatment.
Remained friends until the end dying just 2 months
apart from each other.

Violin Concerto in D major, op.

61
Movement I very extended (20 minutes)
Movements II & III are linked (see score) joint

duration broadly balances movement I.

Described as serene by more than one writer
appropriate for the first movement.
Technically challenging piece for the solo
violinist.
A concerto is a 3-movement piece that
has a solo instrument accompanied by a
full orchestra.

Instruments
Strings violins I & II, violas

cellos & double basses normally double in octaves

Woodwind double woodwind orchestra (oboes,
clarinets in A, bassoons). Only ONE flute.
The woodwind is unusual clarinets in Bb were
commonly used at this point as were 2 flutes. One
possible reason is that Beethovens hearing affected
what he wrote for he couldnt hear higher pitched
sounds as well as lower pitches.
Brass 2 horns & 2 trumpets in D (valveless & crooked).
2 Timpani in D & A (tonic/dominant)
SOLO Violinist!

Brass valves & crooks

No valves = natural brass can only play

notes from the harmonic series.

If a natural brass instrument is in C, they
can only play the following notes:

Crooks extra pieces of tubing added

between the mouthpiece & the body of the

instrument changing the instrument into
different keys.

The Soloist
Enters at bar 89 after the opening orchestral section.
Continues to play for most of the time after this some

passages are orchestral only for variety & to give the soloist a
rest.
There is evidence that soloists did play in the orchestra-only
sections of concertos during Beethovens time including this
one!
Soloist sometimes plays without accompaniment, usually
supported by some (if not all) of the orchestra.
Has music which is considerably more difficult technically than
the orchestral strings parts goes extremely high (bars 100101) no double stopping though until near the end.
Beethoven liked double stopping listen to his Romance in G
(op. 40) & Violin Sonata no. 9 in A major (op. 47).

The Cadenza
In the Classical period:
Showy passage improvised by the soloist (alone).
Soloists in the 18 th century were expected to be able to improvise it had to sound like it was
made up on the spot.
Came near the end of the first movement sometimes in other movements.
Normally provided an extended prolonging of the V in an important Ic-V-I (perfect) cadence
followed by an orchestral tutti.
Completed by a long trill signal to the orchestra to prepare to play again.
Draws on the themes from the movement , combined with the soloists own elaborations and
ideas.
In practice, for safety, many soloists wrote out their cadenzas beforehand.
Usually a soft ending - meaning the coda beings quietly before an extravagant ending.
In this set work:
Indicated in the score by a minim E with trill and pause signs (bar 510 3-4).
Followed by a mostly quiet & light second closing passage in which the soloist continues to play
more pastoral in character.
Not normally improvised in present day performances cadenzas composed by Joseph Joachim
(1831-1907) and Fritz Kreisler (1875-1962) are often used.
Beethoven hadnt finished the work until moments before the first performance a cadenza
couldnt be pre-arranged.
Beethoven wrote cadenzas for the piano version of this work some violinists adapt these for the
violin.

Advances in string technology

The violin was modified at this time in the late

1790s made a more powerful sound.

The neck was lengthened, increasing the
length of the strings slightly more room
between notes, playing in the higher registers
became more practical.
The modern bow was developed in Paris by
Francois Tourte this curved inwards,
balanced well, used more bow hair and was
heavier at the bottom.

Other Associated Names: Kreisler,

Joachim & Mendelssohn
Fritz Kreisler Austrian violinist.
Known for his sweet tone and expressive phrasing

his cadenzas are used most often.

Joseph Joachim Hungarian violinist.
Worked closely with Brahms.
These figures both wrote cadenzas to go with
Beethovens Violin Concerto.
Felix Mendelssohn revived this piece

in 1844 and it was a hit with the Romantic

audience. Mendelssohn conducted it and
Joachim performed the soloists part.

Recap
1. What is a cadenza?
2. When was the violin concerto written?
3. Where was it first performed?
4. Who was the concerto written for?
5. What was a benefit concert?
6. At which bar number does the soloist enter?
7. Who developed the modern bow technique?
8. Which two names helped the revival of the piece in

1844?
9. What is natural brass?
10. How many flutes were used in this piece?

Directed Study
Look at the key features of the Classical period and

relate this to Beethovens Violin Concerto in D major.

How is this piece typical of the Classical period?
A good word count is around 500 words.

Research the key features of the Romantic period

how does this relate to Beethovens Violin Concerto in

D major? Why do you think this piece was more
accepted in the Romantic era than in the Classical
era?
A good word count is around 1000 words.

Please bring evidence of your findings to be submitted

in our next lesson.

Beethoven
The basics of sonata form.
TASK: What do you think the differences between a
motif and theme are?

What did you discover?

Last lesson, you were instructed to relate the
features of the Classical period to Beethovens
Violin Concerto.
You were also asked to research the key
features of the Romantic period and relate this
to the work why do you think the piece was
more accepted in the Romantic period
compared to the Classical period?

The Sonata form principle

Sonata form was a popular compositional structure in the

Classical period.
The basics of sonata form is as follows:
Introduction usually short
Exposition split into 2 sections

(Subject A in the tonic & Subject B in the dominant)

Development ideas from the exposition are developed.
Recapitulation repeat of the exposition but both subjects
appear in the tonic.
Cadenza solo section, virtuosic
Coda usually starts quiet & builds to an explosive tutti
ending.

Sonata form in the Violin

Concerto
The use of sonata form is not as simple as this in

the Violin Concerto.

There are two expositions (orchestral & solo) the
same material is used in both but the soloist acts
as a melodic decorator in the solo exposition.
The piece is also in a type of ritornello form this is
a simple form, commonly used in the Baroque era.
Ritornello literally means to return this uses
alternating sections between solid material and
sections called episodes that are less stable
orchestral (ritornello) and solo sections (episodes).

Sketching out the Structure

TASK: Map out the sonata form structure on
your Beethoven score. Be careful to mark out
sections neatly and precisely.

Analysis of Orchestra Exposition

Subjects, Motifs & Themes

What is a theme?
A theme is a larger overall idea within a piece of music.
Normally a recognisable melody.
What is a motif?
A motif is a fragment that represents an overall theme.
Recurring figure.
A smaller fragment of a theme.
What is a subject?
An overall idea that holds both motifs and themes.
Much larger section of a composition.

Italian Terms
TASK: Find the following terms in your Beethoven score and
translate them.
Sweetly
Expressively
Pizzicato, plucked
A little crescendo, very gradually getting louder
Trill, rapidly alternate two neighbouring pitches
Always soft
Suddenly loud, then quiet
Play on the D and G strings
Sforzando, a strong accent

Recap
1. What is the significance of Beethoven writing
sul D e G?
2. What is ritornello form?
3. What is the importance of the exposition?
4. What is an episode?
5. What is the difference in tonality between the exposition
and the recapitulation?
6. How many themes are in the exposition?
7. Who invented the new violin bow technology?
8. What signals the end of a cadenza?
9. Which bar does the soloist enter the piece?
10. When was the Violin Concerto first composed and
performed?

Directed Study
Write a response to the following title:

Explain the circumstances in which Beethoven

created his Violin Concerto in D major, op. 61.
You might want to refer to aspects such as:

Associated names

Violin technology

Crooked/valveless brass

Use of wind instruments

Benefit concerts

A good word count is around 1000 words.

Please bring evidence of your findings to our next lesson.

Beethoven
The Analysis.
TASK: As a class, explain the circumstances in which
Beethoven created his Violin Concert in D major. You
can only use one word each sentences must make
sense!

What did you discover?

Last lesson, you were instructed to write a
response to the following title:
Explain the circumstances in which Beethoven
created his Violin Concerto in D major, op. 61.

Analysis: Exposition 1 Tutti orchestra

Beethoven lays out the main material for the whole

movement in the exposition.

Made up of 2 subjects each subject has multiple themes

each theme has multiple motifs.

THERE IS NO MODULATION BETWEEN SUBJECTS IN THE

ORCHESTRA EXPOSITION.
TASK: Mark the following into your Beethoven score
First subject group
1a

Bar 1

Timpani motif and opening woodwind theme

1b

Bar
10

Strings take up timpani motif, beginning on D#

1c

Bar
18

Woodwind ascending scales idea, with repeated

semiquavers in the strings.

1d

Bar
28

Full orchestra motif (fortissimo) based on repeated

semiquaver rhythm, unexpected Bb major chord

1e

Bar
35

Five-note semiquaver figure, accents on second and

fourth beats.

Second subject group

2a

Bar
43

Woodwind theme in two-bar phrases: ascending

3rds, answered by descending 3rds, pizzicato cellos
and double basses.
Timpani motif in the first violins, notated as
quavers.

2b

Bar
51

Minor key version of 2a in violins (in octaves), triplet

quavers throughout in violas and cellos. Motif in
horns, trumpets and timpani.

1b

Bar
65

Chromatic D# motif from the first subject group,

building from pp to ff. The motif is in full strings
(pianissimo), harmonised as a diminished 7th chord.

2c

Bar
77

Tutti closing theme, alternating two-bar phrases for

violins (chord I) and cellos and double basses (chord
V).

Analysis: Solo exposition

Instead of closing the orchestral exposition with a

perfect cadence (bar 88), Beethoven uses the

unresolved dominant 7th chord (A7) as the background
for the entrance of the soloist backs up the A major
tonality tonic to dominant.
Bowing different techniques indicated by slurs long
bows for triplets, quicker changes for semiquavers,
etc.
Control of the bow is important to the soloist easier
to project the sound. Beethovens bowing marks are
not always clear longer phrase marks look like an
instruction to use long bows.
Bar 122 the role of the orchestra becomes reduced
and the solo violin is able to dominate more.

Relationship between the soloist and

the orchestra
Bars

Thematic
material

Orchestra

Violin Solo

126 - 133

1c
D minor

Strings

Elaboration of ascending scale theme, marked

dolce: in rapid semiquaver octave leaps, then in
appoggiaturas, then ascending scales with turn
ornaments; difficult to play in a very high
register.

134 - 143

1e
Modulating to
the dominant
key

Antiphony
between
woodwind and
string

Continuous semiquaver movement (variation of

five-note semiquaver figure from bar 35). Ends
on figuration around the E (dominant note of the
new dominant key), augmentation of rhythmic
values, leading to trill.

144-151

2a
A major

Clarinets and
bassoons in 3rds;
pizzicato cellos
basses

Trill on E, then plays the second phrase an

octave higher.

152 - 165

2b
Dominant minor,
A minor

Melody in first
violins and violas,
with pizzicato
chords

Triplet figures, octave leaps, wider leaps,

descending countermelody against ascending
phrases in the melody. Covers a wide range.

166-177

1b

Sustained strings;
dominant pedal
in oboes and
clarinets.

Elaboration of timpani motif with chromatic

triplets on final note. Virtuosic arpeggios begin
at bar 172 ascending slurred (in one bow),
then detached with turns, then detached

Analysis: Development
Begins with the dramatic entrance of the tutti

orchestra interrupted cadence, bar 224.

Forceful sempre ff (always very loud) bar 256.
Constant movement of semiquavers in 2 nd violins &
violas helps to retain the intensity.
Long expressive melodic lines in the violin, with
sighing suspensions at the end of phrases.
Sustained strings and the rocking movement of the
quavers in the 1st violins provide the perfect
accompaniment for the lyrical solo against the soft
repetition of the motif in the wind instruments and
timpani.

Analysis: Recapitulation
The recapitulation ends with a reprise of the

long trills and scales which ended the

exposition, followed again by the full orchestra
with its sudden Bb chord bar 497.
Pause on a Ic chord at bar 510 this halt on
an inconclusive chord is by convention the
signal for the soloists cadenza.

Analysis: Coda
At bar 511 the violin solo continues with the

second subject theme, played on the D & G

strings.
It would be easier to play most of these notes
on the D and A strings, but Beethoven
instructs the soloist to play the notes higher
up the fingerboard in order to exploit the
richer, darker tone of the lower strings.

The Role of the Orchestra

TASK: Find some examples in the score for the following points
Example: The bassoon is used for expressive effect in dialogue with the solo violin
in the development and in the coda bars 305-327, both bassoons in 3rds.

The flutes, oboes, clarinets and bassoons contrast in timbre

with the sound of the solo violin and with the string section.
Important themes are introduced by the woodwind section.
The woodwind can either play themes as a full section of play
melodic lines in unison, octaves, 3rds, 6ths accompanied by
strings.
Woodwind instruments are used as a section in homophonic
writing, reinforcing the rhythm in the full orchestra or holding a
chord while the strings play a more energetic rhythmic figure.
The woodwind can be used to strengthen melodic lines by
doubling the strings.

Statements of the 2nd subject

TASK: Complete the following table concerning
the 2nd subject the subject theme is stated 5
times.

Beethovens use of harmony

Beethoven relied heavily on chords I and V(7)

to establish and maintain major and minor

keys.
There is much greater harmonic variety than
this in the Violin Concerto.
Bars 1-9

Harmony continued
Creates a placid pastoral mood calm &

serene.
The unaccompanied D#s that follow are
mysterious, strangely intrusive and puzzling
both harmonically and psychologically if
these werent here could it be almost too
serene?
Disturbing dissonant F natural in bar 207
and Bb in bar 481.
Bar 28 tutti orchestra enter in Bb major
creates a surprising and dramatic effect
distant key to the tonic D major.

Recap
1. The tonic-dominant switch should occur in standard

sonata form but doesnt in this piece. Which section

does this concern?
2. Which section precedes the cadenza?
3. What importance does Beethoven unusually give to
the woodwind section?
4. What chord does the orchestra pause on at bar 510?
5. Which playing technique is specified at bar 511?
6. Which bar features the mysterious D#s?
7. What is unsettling about the D#s?
8. What does sempre ff mean?
9. What is confusing about Beethovens bowing marks?
10. What is the function of the exposition?

Directed Study
Complete the deeper analysis table for

Beethovens Violin Concerto in D major, op. 61

movement 1.
You will need to use your score to analyse the
movement and complete empty boxes or finish
off sentences.
Revise your analysis notes and prepare

yourself for an end of unit assessment.

Please bring evidence of your findings to our
next lesson.

Bars

Orch./Solo

1-17

Orch.

Ritornello

Section

Subject/Theme and comment

Key

Exp. I

1st subject:

b.1: repeated-note motif (tpi) Motif 1

2-9: theme 1 (wdwd, without fl.)

10-17: includes descending stepwise melody in str. and new version of Motif
1.

Bridge passage:

18-251: theme 2 (ascending stepwise melody in cl., bn, ob.)

234-25: falling 3rds motif

Bridge passage continues (reaches Dm via bVI in D in 28).

Dm

2nd subject:

43-64: theme 3 (wdwd without fl.: lyrical melody begins with ascending
stepwise movement), and development thereof.

77-88: theme 4 (closing theme or codetta, beginning with rising triad shape).

D;
Dm, F
(51-64)

Link

Cadenza-like passage linking Exp. I to Exp. II

D V-I

Exp. II

1st subject: rescored repeat of 1-17.

18-27

28-41

Orch.
(mostly full)

42-88

Orch. (full
towards
end)

89-1011

Solo

101-117

1st

118-125

Orch.

1st subject continues (118-121 = 18-21, rescored)

122-125 based on theme 2(see str. all in semiquavers).

126-142

Solo

Bridge passage: refers at first to theme 2.

Dm, F,
Am, A

1431951

2nd subject: rescored repeat of 42-84.

Extension based on theme 4, cadencing unexpectedly back in D.

A, Am, C,
ending in
D

195-223

Re-establishment of A (from 196)

Cadenza-like material, including moments of tonal ambiguity (especially 207)
and chromaticism (chiefly 199-200, 211-212)
Passage prepares for start of development.

Bars

Orch./S
olo

Ritornello

Section

Subject/Theme and comment

Key

224237

Orch.

2nd

Devel.

= 28-41, transposed and varied.

Reaches Am via bVI in A.

Am

= 42-66, transposed and slightly varied (e.g. repeated

semiquavers in vln II and vla). Compare also 2nd subject from bar
143.

A, Am, C

238262
262283

Orch.

262-263: musical pun A# becomes Bb, and thus we exit A

major without cadencing, leading through F to C.
Theme 4 (in C) at 272. This closing theme seems to signal
the end of the Development, but Beethoven keeps the
listeners in suspense,,,

A, C, F

C D(?
m), Bm,
Em, Am,
D, Gm, Eb

284-290 = 89-95 transposed from D (V) to C (V)

Then re-working of 96-100
At 300 G and F (C V7) behave as 6th chord in Bm (note the
almost secretive pp dynamic). The beginning of the most
disturbed passage tonally is aptly placed just before the
triumphant re-assertion of the tonic at 365.
Then a long circle of 5ths (from B-E right round to C at 317):
passage-work in solo part against elements from theme 3in
bn.
Gm (315-336) is dwelt on as if an important structural goal
(presumably deliberate deception)
330-357: repeated-note motif (see section on Melody below)
Dominant pedal (A) from 346 the suspense continues.

1st subject: = 1-17 much more fully orchestrated (theme 1).

284364

Solo

365381
382385
386417

Orch.
(full at
first)

Recap.

Solo

418496
497510

Orch.

3rd

Bridge passage:
Compare 18-21, re-orchestrated (theme 2).

Bridge passage:
Initially based on 18-21
Some new development of theme 2
Ends with cadenza-like passage on D V.

D. G. Em

2nd subject: transposition of 143-223, with differences, notably in

solo figuration.

Repeat of 28-41, with differences at beginning and end.

Dm, ends
D Ic

Beethoven
Further Analysis & End of unit Assessment
TASK: Continue to read through your notes in
preparation for the end of unit assessment.

What did you discover?

Last lesson, you were instructed to complete
the deeper analysis table for Beethovens Violin
Concerto.
You were also asked to revise your notes and
prepare for an end of unit assessment.

Further Analysis
TASK: Work through the exercises based on
Beethovens Violin Concerto. They are designed
to help you to look a little bit deeper at the
score a skill that you will need in the Summer
examination.

Recap - end of unit assessment

Please put all notes away and prepare for the

end of unit assessment.

This will consist of some general knowledge

questions on Beethovens Violin Concerto and

also some deeper analysis questions, focusing
on specific areas of the piece, which will
involve listening and score analysis.

Directed Study
Continue to work through the Beethoven

score exercises until the booklet is completed.

Please prepare this for submission in our next
lesson.

Further Reading
An important part of A-level studying is reading
around your subject and allowing yourself the
time to research and investigate away from
what is covered in lessons at college.
Beethoven: Violin Concerto by Robin Stowell

explores the background and the influences of

this work.

Further Listening: Beethoven

Eroica Symphony in Eb major, no. 3 (1804)
Pastoral Symphony in F major, no. 6 (1808)
Piano Concerto in D major (op. 61a)
Symphony No. 5 in C minor, 1st movement

(1804-1808)
Symphony No. 7 in A major, 2nd movement
(1811)
Moonlight Sonata (1801)
Fur Elise (1810)
Fidelio opera (1805)