Beethoven is widely regarded as a master of musical construction, sometimes sketching the architecture of a movement before he had decided upon the subject matter. He was one of the first composers to systematically and consistently use interlocking thematic devices, or 'germ-motives', to achieve unity between movements in long compositions. (Some insight into the meaning of the germ-motive device is given at the end of this bio.) Equally remarkable was his use of source-motives', which recurred in many different compositions and lent some unity to his lifeโs work. He made innovations in almost every form of music he touched. For example, he diversified even the well-crystallised form of the rondo, making it more elastic and spacious, which brought it closer to sonata form. He was mostly inspired by the natural course of nature, and liked to write songs describing nature.
Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other instrumental sonatas (including for violin), string quartets and other chamber music, masses, lieder, and one opera.
Beethoven's compositional career is usually divided into Early, Middle, and Late periods:
In the Early (Classical) period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous "Pathรฉtique" and "Moonlight" sonatas.
The Middle (Heroic) period began shortly after Beethoven's personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (numbers 3 to 8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (numbers 7 to 11), the next seven piano sonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late (Romantic) period began around 1816. The Late-period works are characterised by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 string quartet has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing the sonata form, both in the overall schema (movements, tempos) and in the micro-form, Beethoven began to use germinal ideas propelling the whole melodic, harmonic, and rhythmic progression. In the first quartet of the group (E flat major, Op.127 โ February 1825), the Adagio has five variations (in this case, a source-theme becomes the backbone of the tempo). That same year, in July, Quartet in A minor, Op.132, features a first movement with the traditional two themes, but without contrast; they display and disseminate sub-sections and โgermsโ in a circular frame, interlocking with each other. Beethoven's germ-motive is like a Bach choral, summoning the other voices around itself.
The last quartet, Op. 135 in F major, was composed in a downplayed form, going back to a more traditional four-tempo structure. But internally one finds the same frozen micro-structure: the first movement is harmonically ambiguous, whereas the scherzo sounds like Bartรณk, and in the finale, the canon โEs muss seinโ plays a joyful role. A terrible grave comes in afterward, to dissolve into a soft pizzicato: adieu music, adieu life . It was never heard by the now deaf Beethoven, and he died shortly afterward.
An die Hoffnung op. 32
Ludwig van Beethoven Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
cn die Hoffnung op. 32
Text: Christoph cugust Tiedge (1752 ยญ 1841)
1. Die du so gern in heil'gen Nรคchten feierst
Und sanft und weich den Gram verschleierst,
O Hoffnung, laร, durch dich empor gehoben,
Den Dulder ahnen, daร dort oben
Ein Engel seine Trรคnen zรคhlt!
2. Wenn, lรคngst verhallt, geliebte Stimmen schweigen;
Wenn unter ausgestorbnen Zweigen
Verรถdet die Erinnrung sitzt:
Dann nahe dich, wo dein Verlaรner trauert,
Und, von der Mitternacht umschauert,
Sich auf versunkne Urnen stรผtzt.
3. Und blickt er auf, das Schicksal anzuklagen,
Wenn scheidend รผber seinen Tagen
Die letzten Strahlen untergehen:
Dann laร ihn um den Rand des Erdentraumes
Das Leuchten eines Wolkensaumes
Von einer nahen Sonne sehn!
The song "An die Hoffnung" (To Hope) by Ludwig van Beethoven, with text by Christoph August Tiedge, explores the power of hope during times of despair and suffering.
In the first verse, the lyrics describe hope as a comforting force that is present during holy nights. It suggests that hope has the ability to soften and hide the pain that torments a delicate soul. The lyricist asks hope to lift the sufferer's spirits and make them realize that there is an angel above who counts their tears. This suggests that hope provides solace and reassurance to those who are enduring hardship.
The second verse delves into a theme of loss and abandonment. It portrays a scenario where beloved voices grow silent and memories fade away. The imagery of withered branches reinforces the feeling of desolation. In this darkness, the lyrics call upon hope to approach and console the one who has been abandoned. It describes this person as grieving and seeking support, leaning on forgotten urns in the shadow of midnight. This verse emphasizes hope as a companion to the grieving and a source of strength in the midst of sorrow.
In the third verse, the lyrics depict the individual looking up to the heavens and blaming fate for their troubles. As the last rays of light disappear from their days, hope is called upon again. The lyrics ask hope to grant the person a glimpse of a silver lining around the edge of their earthly dreams, a glimmer of light from a nearby sun. This imagery suggests that hope can provide a glimpse of a better future, even in the darkest moments.
Overall, "An die Hoffnung" explores the role of hope as a powerful force that alleviates pain and provides comfort during times of despair. It portrays hope as a guiding presence, illuminating paths of solace and offering strength and optimism even in the face of adversity.
Line by Line Meaning
Die du so gern in heil'gen Nรคchten feierst
O Hope, who is celebrated so fondly in sacred nights
Und sanft und weich den Gram verschleierst
And gently and softly veiling the sorrow
Der eine zarte Seele quรคlt
That torments a tender soul
O Hoffnung, laร, durch dich empor gehoben,
O Hope, let the sufferer be raised up by you
Den Dulder ahnen, daร dort oben
Let the sufferer sense that up above
Ein Engel seine Trรคnen zรคhlt!
An angel counts their tears!
Wenn, lรคngst verhallt, geliebte Stimmen schweigen;
When beloved voices are long silenced
Wenn unter ausgestorbnen Zweigen
When beneath extinct branches
Verรถdet die Erinnrung sitzt:
The desolate memory resides:
Dann nahe dich, wo dein Verlaรner trauert,
Then draw near, where your forsaken one mourns
Und, von der Mitternacht umschauert,
And, surrounded by midnight
Sich auf versunkne Urnen stรผtzt.
Leans on sunken urns.
Und blickt er auf, das Schicksal anzuklagen,
And if he looks up to accuse fate
Wenn scheidend รผber seinen Tagen
When departing over his days
Die letzten Strahlen untergehen:
The last rays fade away:
Dann laร ihn um den Rand des Erdentraumes
Then let him behold around the edge of earthly dreams
Das Leuchten eines Wolkensaumes
The glow of a cloud's hem
Von einer nahen Sonne sehn!
From a sun nearby!
Lyrics ยฉ O/B/O APRA AMCOS
Lyrics Licensed & Provided by LyricFind
F#m
Beautiful piece, thanks.
Arian Sadrayi
This is so touching...