Who is the “better” composer, Mozart or Beethoven? Begin by exploring definitions of “better” and comparing two similar works by each composer. Most define better as something being superior to another. Who has the better Rondo structure? Who has the better rhythmic structure? Who has better use of special techniques, phrases and dynamics? Who does the listener think composed the “better” song? Piano Sonata, K. 333, Rondo by Wolfgang Amadeus Mozart and Sonate (Pathetique) No. 13, Rondo by Ludwig van Beethoven represent works with many similarities in form and style and will be the works referred to in this analysis. The standard Rondo structure was used for many years before either Mozart or Beethoven composed with it. Originally used as a dance form, in Baroque and Classical music it often became the final movement of a Sonata. This is also the case with both selections being compared today. The structure both works include the basic ABACABA format the first episode going to V or possibly III if the refrain in a minor key. In the Mozart Rondo the refrain begins in Bb major and the first episode or B begins on measure 24 in the key of F major – V of Bb major. This is then followed by the return of the refrain in the opening key. (One point for Mozart he is following the expectations!!) Beethoven also follows expectations by beginning the refrain in c minor and then following with the 1st episode or refrain at measure 29 in the key of Eb major, III in the key of c minor. He also proceeds to the open refrain in the opening key. (Our composers are now tied – 1 to 1.) Mozart appears continues to following expectations by putting the second episode or C section in the key of Eb major, but he has wandered through the key of g minor to get there. Beethoven, on the other hand, takes the second episode or C section Ab major without any wandering in the overall key. (Beethoven is now up by 1 point!) Mozart also breaks expectations by putting a false return to the refrain in measure 91 before truly returning to the refrain in measure 112. The third episode, the second B section, in the standard Rondo form is a return to the material presented in the first episode, but in the tonic key or it parallel key. Mozart returns to the B material in the opening key of Bb major in measure 148, again following expectations, but then follows up with a to the refrain1 again in measure in measure 173. Beethoven begins the 3rd episode, second B section in measure 133, in C major and then moves us back to the opening key of c minor for the final refrain in measure 170, again following expectations. (The score is now – Mozart 2, Beethoven 3.) Both composers add a coda at the end of their Rondos. Mozart’s coda begins in measure 208, with a revisit to refrain theme in measure 214. This theme is now heard a minor third higher than at the beginning but still moves back to the key of Bb major for the closing cadence. Beethoven’s coda begins in measure 178 introducing some new melodic ideas. At measure 203, Beethoven also quotes the opening theme from the refrain, but it is heard a minor 3rd lower. He then works his way back for the final cadence in the key of c minor. Looking at just the form on paper, Beethoven is the “better” composer. Further examination is needed since form is not all there is to composing music. Mozart’s opening rhythm for his refrain is very similar to Beethoven’s. Both asked that the movement be played Allegro. Neither of the composers chose to change meter during the whole Rondo. Mozart interrupted the rhythmic flow in measure 198 with an extended cadenza and Beethoven created the feeling of suddenly slowing down in measure 79 and 80 by lack of quarter note and eighth notes. (Another tie!) Both composers appear equally strong in the rhythmic aspects of the Rondo. The use of special harmonic devices becomes important in smoothly moving the Rondo into new key centers. Mozart’s refrain include 2 half
Related Documents: Comparison Of Rondo By Ludwig Van Beethoven
private detective and feminism. female hero who is not used by nor exploits men. She does not carry a gun and relies on her physical fitness, her fast paced, witty dialogue and shrewd actions to outsmart her adversaries. All texts, regardless of form or composer, inherently present different voices in their composition \ 1. Purpose: What is the reason for the composer writing the text? Argument: What point of view is the composer promoting in order to persuade the reader? Persona:…
("Fixed song") The process of using a pre-existing tune as the structural basis for a newpolyphonic composition. Choralis Constantinus: A collection of over 350 polyphonic motets (using Gregorian chant as the cantus firmus) written by the German composer Heinrich Isaac and his pupil Ludwig Senfl. Contenance angloise: ("The English sound") A term for the style or quality of music that writers on the continent associated with the works of John Dunstable (mostly triadic harmony, which sounded quite…
Favorite Composers For this tour, I selected three composers whom I believe are the greatest composers to have ever lived. They changed the course of music with their innovations and have influenced composers for centuries. Even today, their music and legacy live on beyond their imagination. Who are these composers? We’ll begin this tour with Georg Friderick Handel, continue with Wolfgang Amadeus Mozart, and conclude with Ludwig van Beethoven. Georg Friderick Handel Georg…
2 or more voices * Style – Unique way of doing a work [Study Louis Armstrong and Ella Fitzgerald] * Virtuoso – An exceptional performer * Recorded Music * History – Once recorded, it’s there forever. * Better Quality * No mistakes * Live Music * Mistakes * Audience * Emotion * REVIEW FOR TEST 5/23/13: Exam 2 Notes: * Concerto grosso: A large group of soloist w/ an orchestra. *…
a mining town, the composer explores acceptance through being true to oneself. Thus, authenticity to oneself is an undeniably crucial aspect in the complex experience of belonging. Personal values can cause barriers to belonging due to societal proprieties. This may be due to the “hand of society” or due to human nature. In Dickinson’s “hungry”, the enjambment between the lines, “When one who died for truth was lain In an adjoining room,” draws a connection between those who strongly hold opinions…
in Eisenach, Thuringia, Germany. At the age of seven he went to school where he studied Latin. His Lutheran faith would later influence his musical works. Both of his parents died when he was ten, he stayed with his older brother, Johann Christoph who was a church organist where he received further musical instruction. Bach lived with his brother’s family until he was fifteen. As an adolescent, Bach had a wonderful soprano voice but as he grew older his voice changed and he began playing the violin…
Beethoven was born in Bonn, Germany in 1770, to Johann van Beethoven and Maria Magdalena Keverich. Although Beethoven's exact birth date is not known, his family celebrated it on December 16. Ludwig's first musical instruction came from his father Johann who was said to have been a harsh instructor. Johann later asked his friend, Tobias Pfeiffer, to teach his son. It seems that the harsh treatment continued, as Johann and his friend would come home late on occasion to pull young Ludwig from his bed to practice…
rich counterpoint and a highly decorated melodic line. The music of this period has a number of defining characteristics including the use of the basso continuo and the belief in the doctrine of the affections. The doctrine of affections allowed composers to express emotions and feelings in their compositions. “Another distinguishing characteristic of the Baroque era was the emphasis on contrast of volume, texture, and pace in the music, as compared to music of the late Renaissance which did not…
were very popular, especially in Germany. Germans considered the music of these great composers sacred. “Music making and music listening were cherished as inherently wholesome activities.” (Horowitz 34) The war changed this. When Germany declared war, they used the music from these composers in their Imperial Marches and as propaganda. War was declared and there were attempts to ban the music of the German composers. “Sir Henry Wood, first conductor at the Proms which began in 1895, insisted that…
frequent new social circles, other than those of his father and family. Here he met people who were to remain his friends for the rest of his life: The Ries family, the Von Breuning family, and the charming Elenore, Karl Amenda—the violinist, Franz Gerhard Wegeler—a doctor, and a dear friend who also went to Vienna. At home, little by little, Ludwig replaced his father. First of all financially, because Johann, who was often under the influence of alcohol, was less and less capable of keeping up his…