Beethoven: A Life in Nine Pieces by Laura Turnbridge

From Beethoven by Laura Turnbridge

70 - Eroica - Symphony no. 3 in E flat major, op. 55.  Beethoven began sketching a 'grand symphony' in the summer of 1802, which would use as its finale a piece he ahad already composed, the Variations and Fugue for Piano in E flat major, op. 35. ... for the Eroica, he seemed less interested in making references across movements than in shifting the weight of the music towards its ending, which has encouraged listeners to think of narratives of victory or apotheosis.  

73 - Beethoven used a funeral march (marcia funebre sulla mort d'un eroe... in the third movement of the A flat major piano sonata, op 26 (1800)

91 In 1808, at the Theater an der Wien, Beethoven held his long-anticipated third, academy, which, unusually, was dedicated entirely to his own music.... The programme began with the premiere of his Sixth Symphony, entitled "A recollection of Country Life' (which came to be known as the 'Pastoral').  It was follwed by the conert aria for solo soprano and orchestra, "ah! Perfido', the Gloria from the Mass in C, and then the recently published Fourth Piano Concerto, with Beethoven as soloist.  After an interval came the premier of a symphoy in C minor, the Fifth, the Sanctus from the Masss in C, and a Fantasia improvised by Beethoven at the piano.  For a finale, Beethoven had composed a Choral Fantasy that brought together all the musicians: vocal soloists, chorus, solio piano and orchestra.  

158 - After completing the Fidelio revisions, Beethoven had composed the Piano Sonata, Op. 90, which some scholars like to hear as him retreating to the comfort of more familar musical domains.  Yet, for the first time, Beethoven did not use the conventional Italian tempo markings, but instaed provied expression markings in German.  

167 - The Piano Trio, Op. 1, no. 3 was converted into a stiring quartet, op. 104. 

173 - Hammarklavier Sonata.... On the surface, it seems fairly conventional.  Beehtoven reverted to the standard four-movement layout for a piano sonaa he had abandoned since Op. 31, no 3, in 1802.  Its first three movements -- Allegro, Scherzo, Adagio sostenuto -- are each self- contained and in classical forms.  It is , however, far longer than any other sonata by Beethoven or indeed, any of his contemporaries... The finale, a huge fugue with introduction, marks the start of a preoccupation with counterpoint... [that he] would explore further in subsequent works such as the Missa solemnis and the 'Grosse Fuge'... with regard to register, this is extreme music. It depends on stark contrasts.  AT the end of the Scherzo, the final two chords that punctuate the main theme start to take over, alternating between being high, loud  and on a B flat and being lower, softer and on a B natural.  ... the B natural is far removed from the home key and threatens to take over as it is repeated and accelerates, becomesing even louder.  ... the meloic and harmoic structure of the hwole sonata is governed by a falling third.  The two last notes of the opening, fanfare like motto are a falling third; the Scherzo's first theme constanatly hops down by thirds; the adagio's main melody sinks by thirds; finally, the moments whne the scurrying fugal theme stops aare drops of a third.

179 - late period... Despite acclaim with which Beehtoven was heralded by his associates, teh works that he produced from 1818 onwards general were greeted with bafflement, if they were encountered at all.

180 - Beethoven had declared that he was embarking on a 'new path' in 1803, which has been taken to represent the start of his 'heroic' or 'middle' period; [Eroica, second symphony, three violin sonatas, op. 30; the three piano sonatas, op 31, ad the opp. 34 and 35 piano variations] the Hammerklavier recognized by the composer as so challening it would take decades for performers to master it, then marks the start of his 'late' period. 

190 - Beethoven's routien continued much as usual: he rose early, had his coffee, then composed allmorning before lunch at midday.  A long walk, sketchbook to hand, took most of the afternoon, after which he might visit a tavern or coffeehouse to read the newspaper.  he would have a simple supper at home and be in bed by 10 p.m.

219 - focus on String Quartet Op. 130.  The 'Grosse Fuge' for string quartet was published as op. 133.  The version for four-hand piano as op. 134.  His next string quartets were Op. 131 and op. 135.