The music for Goethe's tragedy "Egmont" was completed by Beethoven two years after the creation of the fifth symphony, in 1810. The overture is the first of nine numbers of this music. Tragedy attracted Beethoven with its heroic content. The Egmont events refer to XVI century when the people of the Netherlands rebelled against their enslavers - the Spaniards. The struggle of the people was led by Count Egmont, brave and courageous man. Egmont perishes, but the people complete the work they started. The uprising ended in victory in 1576. And in 1609, a truce was concluded, according to which Spain recognized the independence of part of the Netherlands.
The Egmont Overture is a one-movement piece. If in the Fifth Symphony the “events” unfolded over four parts, then in the overture Beethoven managed to show the main points of the development of the tragedy in a concise form. We could only guess about the program concept of the symphony - in Egmont it is determined by the content of Goethe's work.
The overture begins with a slow introduction. As in the Pathetique Sonata, two sharply contrasting themes are given here. The first of them, chordal, sounds solemnly, imperiously. low register, minor scale give it a gloomy, ominous coloring. In the orchestra, it is performed by string instruments. The slow pace, the characteristic rhythm of the theme resembles the majestic tread of the sarabande. The second theme is “sung” by the oboe, joined by other wooden wind instruments and then strings. The melody is based on a very expressive second intonation, which gives it a mournful character. The theme is perceived as a request, a complaint: Knowing the content of Goethe's tragedy, we can definitely talk about the embodiment of the images of two hostile forces here: the Spanish oppressors and the Dutch people suffering under their rule. The struggle of these forces forms the basis of Goethe's tragedy, the development of the corresponding musical themes is the content of the overture.
As usual, the overture is written in sonata allegro form. Main party has a strong will heroic character. It is written in F minor. Her strength and energy gradually increase. At first, it sounds in the lower register on cellos and other strings. instrument piano, then picked up by the entire fortissimo orchestra:
A move for a second at the beginning of the melody reveals the relationship of the main party with the second theme of the introduction - the theme of the "suffering" of the people. Her heroic character no longer speaks of humility, but of the indignation of the Netherlands and their uprising against the enslavers.
The side part is also closely related to the music of the introduction, it combines the features of both of his themes. In the first phrase - chordal, heavy - you can easily recognize the theme of "enslavers". Stated in major (A-flat major), it now sounds not only solemnly, but triumphantly. And here this topic is entrusted string instruments. The quiet sound of woodwinds in the second phrase makes the side part related to the second theme of the introduction:
The courageous and decisive final party completes the exposition.
The development is very small. In it, as it were, the comparison of contrasting themes of the introduction continues, the “struggle” escalates. The timid "requests" each time are followed by an inexorable and cruel "answer". The repeated repetition of the melody of the beginning of the main part each time ends with two abrupt and sharp chords:
But the "fight" doesn't end there. At the end of the reprise, it flares up with even greater force. The theme of the "Spanish enslavers" sounds here especially inflexibly and furiously, and even more plaintively and imploringly - the theme of the people. An unequal duel abruptly ends. The reprise ends with a series of sustained, quiet and sad-sounding chords. Beethoven obviously wanted to convey here the last fierce battle between the people and the enemy and the death of the hero, Egmont. Overture ends big coda, which shows the result of the struggle. Its solemn and jubilant character speaks of the victory of the people.
The beginning of the coda resembles the rumble of an approaching crowd, which quickly grows and turns into the gait of a grandiose mass procession. Inviting exclamations of trumpets and horns sound, and at the end of the overture, piccolo flutes. As well as the fifth symphony, Beethoven finishes - a minor overture in the major of the same name.
Beethoven's interest in the destinies of peoples, the desire in his music to show the "struggle" as an inevitable path to achieving the goal and the coming victory - the main content of the composer's heroic works, including the Pathetique Sonata, the Fifth Symphony, the Egmont Overture. That is why, among all the composers of the past, Beethoven is especially close to us, the Russian people.
1. Organizational stage of the lesson:
Entry of children into the classroom. Roll call. Ready for the lesson.
Musical greeting:
Hello guys!
Good afternoon
We will start the lesson now!
Let's sing the sound of music!
Salt, mi, salt!
Salt, mi, do!
2. Update basic knowledge students:
Between the images there is a conflict, even a collision. We'll look into this after the Finish the Sentence game.
Igra "Finish the sentence."
1. The brave and courageous Count Egmont led the heroic struggle of the Flemish people against ... (Spanish conquerors)
2. Johann Goethe wrote about this hero ...
3. The music for Goethe's tragedy was written by a German composer...
4. Introduction to opera, ballet is called ...
5. The overture is independent today program work, that is, the work ...
6. The Egmont Overture by Ludwig van Beethoven embodies images...
3. Motivation learning activities students in class:
We continue our acquaintance with the peculiarities of the structure of the sonata form, the display and development of the main themes of the Egmont Overture.
The main objectives of our lesson:
To consolidate the understanding of the main features of the composition of the images of the Egmont Overture.
Information about the structure of L. Beethoven's overture "Egmont".
The overture has a clear composition - it is written in sonata form. Comprises three parts: expositions, developments and reprises. Before the exposition there may be an introduction, and after the reprise - a coda (the final part of the work). The Egmont Overture also has an introduction and a coda.
It is the introduction and exposition that embody general image collisions. It is represented by two main themes-images of the overture. The image of the Spanish conquerors in the first theme of the entry and the image of the enslaved people of the Netherlands in the second. This is their first performance - a collision, and the second begins with a smooth outgrowth of the entry into the exposition.
The exposition, as we remember, contains the main and side parts. The main part of the exposition is the image of the Netherlands, and the conquerors are embodied in a side part - harshly and briefly.
Listen to the introduction and exposition of the Egmont Overture. Follow the conflict, the clash of images.
Listening L. Van Beethoven. Egmont Overture (exposition)
Analysis of the listened work.
By what means musical expressiveness the Spanish conquerors are depicted in the introduction, but which ones in the exposition?
In the introduction, the Spaniards are depicted in heavy, harsh chords at a slow pace, the procession of which resembles an old spanish dance sarabande. In the exposition, the image of the conquerors becomes more aggressive, the tempo becomes faster, the chords become shorter. IN side party motifs of the theme of the Netherlands sound.
This topic is getting light, energetic character.
By what means of musical expression are the Dutch depicted in the introduction, and by what means in the exposition?
In the introduction, the image of the Dutch expresses grief and suffering - intonations are heard in the melody - sighs. In the exposition, the main party (the theme of the Dutch) becomes more courageous, energetic, although its mournful character is palpable.
Information about the overture by L. van Beethoven
The beginning of the 19th century in Beethoven's life passed under the sign of passion for the poetry of Johann Goethe.
Beethoven wanted to write an opera based on the plot of Faust. The composer did not realize this idea, but songs appeared based on the poet's texts, and
also music for Goethe's tragedy "Egmont". Beethoven's music for "Egmont" is an overture and 9 episodes. "Egmont" captured the composer with its content, because the heroic images of Goethe were close to Beethoven.
Sending his work to Goethe, the author wrote: “In the near future, you will receive ... music for the Egmont, for this wonderful Egmont, which I embodied in sounds with such enthusiasm with which I read it, and was in my thoughts and in feelings completely fascinated by you. In a reply letter, Goethe invited the composer to his place in Weimar and spoke about his intentions to stage Egmont with the music of Beethoven.
Almost all of Beethoven's overtures arose in connection with dramatic intentions and projects - as an introduction to an opera, ballet or theater play.
But Beethoven gravitated more towards the overture as an independent work. With him, the overture itself became a drama of ideas. Precisely ideas, since stage images cannot be represented by symphonic means. Thus, Beethoven laid the foundation for a new genre of orchestral music - a program symphonic piece.
Song work"Schoolship"
Pay attention to the expressive and meaningful performance of the text of the song, the creative embodiment of its images.
Work on the purity of intonation;
Work on the correct reproduction of the rhythmic pattern;
Working on a clean unison performance.
Lesson results.
Today we have considered the topic of collision musical images, and once again turned to the work of the great German composer Ludwig Van Beethoven.
Homework : about which of your favorites literary heroes would you write a program overture if you were a composer? How do you imagine this work?
Beethoven. Egmont Overture
Almost all of Beethoven's overtures are associated with dramatic works, being an introduction to a play or opera: "Egmont" - to the tragedy of Goethe, "Coriolanus" - to the drama of Collin, "Leonora" - to the opera "Fidelio".
In his overtures, Beethoven completed long haul development of the classical overture. The starting point for it was the overture that developed in the works of Gluck, Mozart, Cherubini. But Beethoven's characteristic desire for broad ideological generalizations, the ability to express in concise images great feelings and thoughts, changed the position of the overture. For Beethoven, it has ceased to be an introduction to the subsequent development of the drama: the center, as it were, will be mixed into an overture, which in generalized images conveys the content of the entire work. Thus, in Beethoven, the overture turns into a kind of symphony.
The composer laid the foundation for a new kind musical creativity- program one-movement overture.
Work on the music for Goethe's tragedy "Egmont" proceeded during the years of the highest upsurge of Beethoven's creativity. In this work, Goethe attracted Beethoven a lot: heroic images, tragic pathos, mass folk scenes. Beethoven wrote 10 musical numbers for the tragedy: an overture, 4 intermissions, 2 Clerchen songs, Clerchen's death, Egmont's monologue and the Victory Symphony. But most famous uses the overture to the tragedy. It concentrates the idea of the whole work - the struggle for freedom and the joy of achievement.
The theme of Goethe's tragedy was the struggle of the people of the Netherlands for independence in the 16th century against Spanish rule. The hero and leader of the Flemings, Count Egmont, fell victim to the insidious plans of the Duke of Alba, the governor of the Spanish king. Egmont was thrown into prison and sentenced to death. His beloved Clerchen, a girl from the people, calls on the townspeople to revolt. Desperate to save Egmont, she dies.
On the eve of his execution, Egmont has a dream. Before him in the guise of Clerchen appears a radiant vision of freedom. With the words addressed to the people: “Fight for your homeland, for liberty, for freedom!”, Egmont goes to the place of execution. His procession is accompanied by the sound of the Victory Symphony.
The overture begins with a slow introduction. There are two sharply contrasting themes here.
Listening to the first theme of the introduction. The first of them, chordal, sounds solemnly, imperiously. Low register, minor scale give it a gloomy, ominous coloring. In the orchestra, it is performed by string instruments. The slow tempo, the characteristic rhythm of the theme is reminiscent of the majestic tread of the sarabande.
Listening to the Second Introductory Theme. The second theme is "sung" by the oboe, which is joined by other woodwind instruments, and then strings. The melody is based on a very expressive second intonation, which gives it a mournful character. The topic is perceived as a request, a complaint.
If in the slow introduction the composer, as it were, showed us the opposing forces, in the sonata allegro their clash and struggle takes place. Moreover, the allegro thematic material, as it were, grows out of the themes of the introduction.
Listening to the main party. The main party has a strong-willed, heroic character. Her strength and energy gradually increase. At first, it sounds in the lower register of cellos and other piano string instruments, then it is picked up by the entire fortissimo orchestra. A move for a second at the beginning of the melody reveals the relationship of the main party with the second theme of the introduction - the theme of the "suffering" of the people. Her heroic character no longer speaks of humility, but of the indignation of the Netherlands and their uprising against the enslavers.
Listening to the side part. The side part is also closely related to the music of the introduction, it combines the features of both of his themes. In the first phrase - chordal, heavy - you can easily recognize the theme of "enslavers". Stated in major, it now sounds not only solemnly, but also triumphantly. And here this topic is entrusted to stringed instruments. The quiet sound of woodwinds in the second phrase makes the side part related to the second theme of the introduction.
The courageous and decisive final party completes the exposition.
The development is very small. In it, as it were, the comparison of contrasting themes of the introduction continues, the “struggle” escalates. The timid "requests" each time are followed by an inexorable and cruel "answer". The repeated repetition of the melody of the beginning of the main part each time ends with two abrupt and sharp chords.
But the "fight" doesn't end there. The theme of the "Spanish enslavers" sounds especially adamant and furious here, and even more plaintively and pleadingly - the theme of the people. An unequal duel abruptly ends. The reprise ends with a series of sustained, quiet and sad-sounding chords. Beethoven obviously wanted to convey here the last fierce battle between the people and the enemy and the death of the hero, Egmont.
Listening to the Code. The overture ends with a large coda showing the outcome of the struggle. Her solemn and jubilant character speaks of the victory of the people.
The beginning of the coda resembles the rumble of an approaching crowd, which quickly grows and turns into the gait of a grandiose mass procession. Inviting exclamations of trumpets and horns sound, and at the end of the overture, piccolo flutes.
The meaning of this coda is equivalent to the finale of the Fifth Symphony. It grows into a grandiose, majestic apotheosis, a true hymn to freedom.
Beethoven's interest in the destinies of peoples, the desire in his music to show "struggle" as an inevitable path to achieving the goal and the coming victory - the main content of the composer's heroic works, including the Pathetique Sonata, the Fifth Symphony, the Egmont Overture.
Listening to the full version of the Egmont Overture.
Questions:
- List the literary works for which Beethoven wrote music.
- How many Beethoven overtures do you know? Name them.
- What musical and theatrical works of Beethoven can you name?
- With which literary work Is the origin of the Egmont Overture related? About what historical events is it being discussed here?
- Tell us about the structure of the overture.
Presentation
Included:
1. Presentation - 9 slides, ppsx;
2. Sounds of music:
Beethoven. Egmont Overture (excerpts):
Introduction. First theme, mp3;
Introduction. Second theme, mp3;
Main part, mp3;
Side part, mp3;
Coda, mp3;
Beethoven. Egmont Overture ( full version), mp3;
3. Accompanying article, docx.
History of creation
In 1809, Beethoven received an order from the directorate of the Vienna Court Theater to write music for Goethe's tragedy "Egmont" and worked on it from the end of 1809 to the spring of 1810, in his own words, "solely out of love for the poet."
Beethoven highly appreciated the work of Goethe, whom he met repeatedly. He wrote songs based on his poems both in the early (“Marmot”) and in the central period of his work (“Song of the Minion”, “Song of the Flea”, etc.). The music for Egmont consists of the last composed overture and nine numbers. It was first performed on June 15, 1810, when Goethe's tragedy was performed for the fourth time at the Vienna Court Theatre.
Johann Wolfgang Goethe (1749-1832) - the greatest German poet, writer, playwright, lawyer, scientist, theater and political figure- Since 1775, he served as the first minister of the Weimar Duchy. It was in this year that he began work on the tragedy "Egmont", which he completed 12 years later.
Her hero, Egmont, Count Lamoral, Prince of Le Havre (1522-1568) - one of the first nobles of Flanders and Brabant - came from an ancient family known back in the era crusades. His homeland in the 16th century was under the rule of Spain, from which she sought to free herself, speaking at the same time against Catholicism. Egmont, from the age of 16, was a courtier of the Spanish kings, participated in many campaigns and even accompanied Philip II to England when he was wooing Mary Tudor. A favorite of the soldiers and the people and at the same time a loyal Catholic, Egmont was sent to the Spanish king in 1565 with a demand to destroy the Inquisition. The following year, he again took an oath of allegiance to the Spanish crown, although the Dutch patriots, his associates in opposition to Philip II, Prince William of Orange and Count Horn, who refused to take the oath, warned him against the king's treachery and even offered to leave their homeland. However, Egmont, gullible and simple-hearted, met the new governor of the Netherlands, the bloody Duke of Alba at his entrance to Brussels, often visited his house, and on September 9, 1567, he was arrested by order of the duke and imprisoned in the Ghent citadel. Egmont spent 9 months in it. He was charged with 90 counts, which he brilliantly denied. Despite this, Egmont was sentenced to death and executed in Brussels on July 5, 1568. All his property was confiscated by the king, so that the widow and 11 children were left destitute.
Monument to Egmont and Horn
Like other overtures, "Egmont" quickly took its place on the concert stage, where it became one of Beethoven's most popular symphonic works. This overture most fully and concisely embodies typical ideological and style features the composer's work: the heroism of the struggle for freedom, which requires the exertion of all forces and heavy sacrifices; brightness, flashy thematic and clarity of form, addressed to the widest range of listeners.
Ludwig van Beethoven "Egmont"
Beethoven's symphonic work is huge world, in which you can find answers to questions posed to yourself, and the music for the drama "Egmont" is no exception. After all, it embodies the desire for victory so characteristic of the composer, the desire to go through all the trials and build his own path leading to a happy life. free life. Beethoven's "Egmont" is a real philosophy in music, the meaning of which is revealed in every measure. Each intonation of the work seems to convey important information about overcoming difficult life moments.
Learn all the secrets of creation, enjoy interesting facts and comprehend the content of the work, you can on our page.
History of creation
In 1809 Beethoven received an interesting offer from the Directorate of the Vienna Court Theater to create music for the production of Goethe's drama "Egmont". The composer gladly agreed to fulfill the order, refusing the profit as a sign of respect for the writer's work.
The rehearsals of the performance went on simultaneously with the composition of the music. For the performance of Clerchen, Antonia Adamberger was chosen, having enough a good education and sharp mind. When Beethoven approached the actress, the first thing he asked was if she could sing. With a casual smile, Antonia replied that she couldn't. Ludwig was completely bewildered, he asked how then she would be able to play this game. To which Adamberger replied that she would sing how it would turn out, and if he didn’t like it, then she would somehow survive it. Then she sat down at the piano, took out the notes of the aria famous at that time and calmly sang the composition. The composer was confused, he said nothing, except: “I see that you can still perform songs, I’ll go and write these songs.”
It took almost a year to write the music for the play. As a result, Beethoven began working on the overture only before the premiere. The author did not have time for the first performance, and only at the fourth performance did the music sound. Fortunately, given fact could not become an obstacle to the popularity of the overture. And today "Egmont" is one of the most famous works of Ludwig van Beethoven.
Interesting Facts:
- During the first weeks of Napoleon's attack on Austria, it was decided to stage Goethe's drama "Egmont" on theater scenes. As a composer, the choice fell on Beethoven. To express his own respect for Goethe's work, the composer refused the promised fee, as a result, the theater management very quickly agreed to Ludwig's generosity and did not pay him a cent. Subsequently, Beethoven complained to his friend that the directorate, as always, neglected his music, never even appearing at the performance.
- The protagonist of Goethe's work actually existed. Unlike literary character real face was not capable of performing feats relating to the defense of the Motherland, so the real Egmont easily sided with the Spanish king. He went to the side of the enemy, leaving his wife and eleven children. The punishment overtook him at the most inopportune moment, he was executed in the Spanish square.
- The moment of writing the essay fell on the war between Austria and France. Then Napoleon's army was active fighting. All relatives and friends of Ludwig had the good fortune to leave the country, changing it to safer ones. Beethoven, who had small material resources, was forced to stay in militant Vienna. It is worth noting that Ludwig, who had previously admired the personality of Napoleon (before that, the composer dedicated the Heroic Symphony to him), Ludwig was not very pleased with the ongoing actions. The offer of his friend from France to move to Paris, where he would be received properly and presented to the emperor as a master of the musical craft, did not impress Beethoven, and he remained in his small house in Vienna.
- Goethe respected Beethoven and they knew each other personally. When the writer was asked about his attitude towards the composer, Goethe replied that he had never met a creator more expressive and immersed in music, but, to my great regret, this person has a too heavy character.
- Beethoven was a highly educated person, fond of modern literature, and therefore knew Goethe's work very well. So, long before writing music for this performance, he composed famous songs"Marmot", "Song of the Flea" and "Minion's Song" to the words of the great writer.
- The popularity of the overture was so huge that the work was published in printed editions, in transcriptions for a wide variety of orchestras or instruments: from piano claviers to scores of large-scale orchestral military groups.
- The overture was composed in last turn. By the premiere, Beethoven did not have time to finish the work, so it went without musical accompaniment. Only at the fourth screening of the theatrical performance did the music sound in full force.
- Today, the Egmont Overture is a stand-alone symphonic work, but in Beethoven's time she opened the eponymous theatrical production. It is noteworthy that the author also composed several other less famous works to the performance, namely four intermissions for orchestra, songs by Clerchen, episodes related to tragic death the main characters, as well as the "Victory Symphony". A total of ten numbers were written, including the overture.
- Work on the work was complicated by many factors related to the hostilities that took place in Austria. So, for example, because of the constant explosions, the composer had to constantly cover his ears with pillows. In those days, he had already begun to lose his hearing and the pain from exploding ammunition was unbearable.
- The first performance took place in 1810. This time was significant in terms of the history of Austria. The capture of Vienna by Napoleon's army, the plight of the Austrian people, the humiliating world - all these factors could not but be reflected in art. So, all the spectators looked theatrical performance no longer from an artistic point of view, but from a political point of view.
Use of music in motion pictures
The concept of "overcoming", clearly expressed in this composition, could not leave indifferent modern directors, so the music can be heard in the following films:
- Late Flower (2016)
- In Search of Perfect Sound (2016)
- All Beethoven (2015)
- Space Cadets (2014)
- Lincoln (2012)
- Taste sunlight (1999)
The content side of the composition is fully consistent with Goethe's drama. The action takes the viewer to the 16th century, at a time when the Netherlands was under the yoke of Catholic Spain. Tired of the constant inquisitions and violence against their own people, the Dutch decide to rebel against the Spaniards. Egmont is the main instigator who wants the country's liberation. He is young and in love with a wonderful girl named Clerchen, who also wants to fight for the future of her own country. Together they raise the people, Egmont was imprisoned and then executed. Clerchen cannot survive this event and decides to commit suicide. The people withstand all the onslaught and defeat the Spaniards.
Egmont Overture clearly demonstrates the path from suffering to joy. This idea is named as the concept of overcoming, and is characteristic of Beethoven's symphonic work (especially the composition echoes Symphony No. 5 which was completed two years ago). The path is formed over the explicit three sections of the overture:
- The slow introduction (Sostenuto ma non troppo) is characterized by two contrasting themes: Spanish and Dutch. The theme of the Spaniards is a melody in the rhythm of the sarabande in the timbre of low strings, it is permeated with intonations of suffering. The theme of the Dutch, on the contrary, is a moving melody in the timbre of woodwind instruments.
- In the sonata allegro, the development of the themes sounded in the introduction continues. The theme of the Dutch has become stronger and more sonorous in terms of dynamics. Already in the side game, the collision of two worlds will again occur, which will lead to a tragic climax, expressing the death of the hero.
- Coda (allegro con brio) means the triumph of the Dutch over the Spaniards, the general rejoicing of the people.
Everyone knows Beethoven's Egmont Overture, but few give real importance to other musical numbers that are no less professional. So big role in the performance, Beethoven gave it to intermissions between acts. He wanted to create a certain psychological connection between the sections, and the composer succeeded in achieving a similar effect, Beethoven made an intermission from several musical sections, usually the first section included material from the previous act, and the second section created the mood for the subsequent action. The parts contrast with each other: the first section was most often filled with lyrical intonations, and the second included a warlike march. So, every intermission carried own function in creating the atmosphere of a stage action:
- Intermission #1. The love of Brackenburg and Clerchen against the backdrop of raging popular unrest.
- Intermission #2. Exposition of the greatness of power.
- Intermission #3. The tragic outcome of an unequal struggle.
- Intermission #4. The march of supreme majesty is intertwined with Clerchen's prayer for the salvation of Egmont.
Intermission #1 - listen
Intermission #4 - listen
The decoration of the performance was two songs by Clerchen, each of which has its own character:
- Song " Drums roar" is an example of a declamatory tune, emphasized by the presence of a march. The change in the nature of the music is achieved by the alternation of minor and major keys. The composition is a through number in the first act.
- Song " Joy and sorrow"retains a constant change of character, brightness of contrasts. The heroine rushes between dreams and impulses, so the melody either rises or falls sharply.
"Drums are rattling" - listen
No less colorful are the numbers associated with the final monologues of the main characters. Orchestral episode " Death of Clerchen"does not have a bright emotional outburst, rather resembles the slow extinction of a person. " Victory symphony”became an anthem that effectively ended the performance. In this episode, the composer managed to embody not only patriotic pride, but also the sweet feeling of victory over the oppressor.
"Victory Symphony" - listen
On this moment time music is independent work, not related to the drama of Goethe, which is rarely staged today.
