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Part 5
The Nineteenth Century
1800 1900
Part at a Glance
The Nineteenth Century
Chapter 29 Hector Berlioz, Symphonie fantastique, fourth movement
Chapter 28 Felix Mendelssohn, ream
Chapter 26 Ludwig van Beethoven, Symphony no. 5 in C Minor, op. 67
Originality
Chapter 37 Johannes Brahms, Symphony no. 4 in E Minor, op. 98
Chapter 35 Giuseppe Verdi, La Traviata, Act I, selection
Chapter 36 Richard Wagner, The Valkyrie, Act III, selection
Timeline: The Nineteenth Century
Part Objectives
After reading this part opener, students should be able to:
5.3 Describe the effect of the Industrial Revolution on music.
5.4 Explain how music was used as a political force, especially one of nationalism.
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MyMusicLab Resources
Timeline: The Nineteenth Century
A Closer Look: The Power of Music, Franz Liszt at the Piano
Chapters at a Glance
Chapter 26 Ludwig van Beethoven, Symphony no. 5 in C Minor, op. 67
Chapter 27
Chapter 28 Felix Mendelssohn,
Chapter 29 Hector Berlioz, Symphonie fantastique, fourth movement
Chapter 30 Fanny Mendelssohn Hensel, Piano Trio in D Minor, op. 11, third movement
eText Bonus Chapter 4: Robert Schumann,
Chapter 31
Chapter 32 Frédéric Chopin, Mazurka in B , op. 7, no. 1
Part Summary
fascinations with imagination, individual emotion, and longing. Discarding the restraint
and conventions of the Classical Era, composers emphasized extremes in many regards:
length of works, size of performance forces, level of difficulty (virtuoso performers), and
individual expression within musical works. Advances in technology made it possible for
musicians to travel over much wider areas, bringing new styles across continents and
oceans.
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control how they would be remembered. The group of writers and musicians in A Closer
Look: The Power of Music represents this ideal of music above all.
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Chapter 26
Ludwig van Beethoven
Symphony no. 5 in C Minor, op. 67
Chapter at a Glance
Listen to This First
Rhythm: A Germinal Cell
Dynamics: Loud versus Soft
Connect Your Playlist: Unison Opening
Timbre: The Orchestra Grows
Four Movements, Cyclic Form
Historical Context: Fate?
Chapter Objectives
After reading this chapter and listening to the work, students should be able to:
rhythm.
26.3 Describe how Beethoven uses dynamics in the first movement of Symphony no. 5.
26.5 Explain how Symphony no. 5 is cyclic.
composer.
Key Concepts
Orchestral timbre, rhythmic-motivic development, dynamics, sonata form, alternating
theme and variations, scherzo, cyclic form
Chapter Highlight: Nineteenth-Century Symphony
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Chapter Summary
The opening bars of this symphony are well known and individuals find their own
symbolic meaning for the four notes, short-short-short-Long, and the two pitches.
Schindler said that Beethoven thought of his introductory theme in the Fifth Symphony
ith his deafness, however, has endured.
During World War II, the Allied forces used this symphony as an audible symbol for
victory.
Beethoven used motives (germinal cells) to express his ideas, not song-like
melodies as in Mozart. He moved it to different locations in the scale, and to different
instruments in the orchestra. The intrigue continues throughout because Beethoven
surprises listeners with unexpected louds and softs and shifts his theme from strings to
winds.
Listening Guide
The first movement of Symphony no. 5 is in sonata form, and the Listening Guide in the
textbook lays out the use of themes in the manner of other examples of sonata form
examined in Listen to This!
more difficult to distinguish just by listening, and students are encouraged to use the
Automated Listening Guide as they begin their study of this work. Bonds numbers each
use of the s-s-s-L motive in its various representations. The Rhythm column reinforces
tif.
MyMusicLab Resources
Automated Listening Guide: Ludwig van Beethoven: Symphony no. 5 in C Minor, op.
67, first movement
Chapter Audio: Chapter 26
Animated Notation: Dynamics: Loud versus Soft
Watch: Inside the Orchestra (woodwinds, brass, strings)
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Flashcards
Discussion Topics and Critical Thinking Questions
1. Bonds places this chapter on Beethoven in Part 5, entitled Romanticism. Why do you
-short-short-Long a
Classical Era motif?
2. What is meant by the term cyclic in reference to musical themes? Why does Bonds
apply the term to this symphony?
Activities and Exercises
1. Ask students to find nineteenth-
works. Compare them in class and determine if everyone felt the same about them or
if there were opposing views.
Journaling Prompt