Beethoven3
Among the influential composers of classical music, there have been few who have contributed so much in both talent, creativity, and style as Joseph Haydn and Ludwig Van Beethoven. Both extremely talented in the art of classical composition, Haydn and Beethoven placed their heart, soul and ingenuity in their music as is clearly illustrated in Haydn's The Creation and Beethoven's The Creatures of Prometheus. Both composers display sheer genius in their very effective ways of displaying complex themes through their musical works - in this case, the concept of creation is common to both pieces under study. Haydn's connection to the concept of Genesis and its subtleties is quite evident thought his entire composition. Looking at Haydn's religious piety and as some would argue, unrealistic optimism, it is only fitting that Haydn expressed the concept of creation as an oratoria, which is the biblical counterpart to opera; instead of the various propounded themes of then-contemporary opera, the underlying theme is strictly of biblical concepts and stories. The opening pitch and dynamic of the work are absolutely equal. The overture is introduced in fortissimo and without vigor. The possible reason for such a SLOW pace was to make it ha
For the lark he uses a solo clarinet, and adds a bassoon to reflect the dove and its cooing. This scene is in D major and is contrasted with simple lines, and plain instruments without harmonies and still provide a feeling of definite hesitance; there are long pauses throughout this time. Perhaps most indicative and unique to Beethoven is his use of extreme dynamics in his compositions, often with no transitional queues between the contrasting dynamics. In scene IV, Prometheus shows his creatures to Apollo who was the god of the sun, music, the arts, and medicine. Though departing from the original story, it is a wonderful end, and is conveyed as such (E flat major) through Beethoven's use of themes from three of his other works, and display the success of Prometheus' actions and his virtuosity. The melodic lines of the aria (Gabriel) are constantly rising, creating the majestic uplifting we find so appealing. To connote a sense of transition, Haydn moves from the ominous key of C minor to the more stable and majestic major of the same key. In addition to the unbalanced dynamics, Beethoven incorporates multi-octave ranges and shocking changes in tempos, as well as using much more repetition than his contemporaries. Beethoven wanted a unique instrument to represen! t Apollo, after all he represented the notion of powerful music; Other stringed instruments like the violin were much too common for this purpose. Haydn's expressive genius in conveying great feeling does not end with the overture of his work. , and Apollo in the cadenza with the cello. Although Haydn brings in solo instruments, they aren't allowed to blossom as is usually expected in comparative music, and along with the above techniques, help formulate the sense of chaos that Haydn believed was present prior to 'the creation'. Later in the work, (3 Uriel & Chorus), Haydn, unlike most composers, alternated between sharps & flats; He started in C minor but begins this aria in A major. Upon the completion of those initial bars of music, the listener is thrown a stray of fragment! ed melodies with no cadence. The normal convention of tonality is cleverly ignored by Haydn.
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