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𝕬𝖓𝖙𝖔𝖓 𝕻𝖗𝖎𝖓𝖈𝖊

@AntonPrince7

16 Dec

Today is the birthday of one of the most extraordinary musical minds that has ever touched down upon the soil of our earth.

In 1770, in the German city of Bonn
LUDWIG VAN BEETHOVEN
Was born into this world.

Today, I would like to tell his extraordinary life story.

This is the house where Beethoven was born; at the time, it housed several families, among which were Beethoven‘s parents, Johann and Maria Magdalena in 1770.

Beethoven‘s upbringing was a harsh one; as his father Johann was an alcoholic and often beat young Ludwig whenever he was to practice at the keyboard, insulting him whenever he made a mistake. On more than one occasion locked him into the cellar

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𝕬𝖓𝖙𝖔𝖓 𝕻𝖗𝖎𝖓𝖈𝖊

@AntonPrince7

17 Sep

On musical form; sixth instalment: Sonata Form

What is sonata form? For many people, the term sounds perhaps daunting, associated with the loftiest flights of imagination as it is, and with musical minds of the greatest renown, like Beethoven, Brahms, Haydn and Mozart.

1/30

In a structural sense, however, sonata form is not too hard to explain—especially seeing that I have already spent so many words on other forms of a similar construction.

2/30

The sonata form is a ternary form. In essence, therefore, it differs not significantly from any other ternary form; not from the simple ternary form, not from the minuet or scherzo and neither from the rondo forms.

3/30

Read 41 tweets

𝕬𝖓𝖙𝖔𝖓 𝕻𝖗𝖎𝖓𝖈𝖊

@AntonPrince7

12 Sep

❤ this tweet and I will write something about you...

1917: I see you as someone who is averse to most contemporary fads and trends. This is something I deeply admire because too many people have no more regard for the beauty of tradition of the past. I am happy to find in you a person who does possess this sense of nostalgia.

9: your Tweets encourage me to reflect on the music I love, and inspires me to look beyond the music I know. Sometimes you propound fascinating riddles, and your posts make me look further in music. You certainly are an enrichment to my timeline!

Read 21 tweets

𝕬𝖓𝖙𝖔𝖓 𝕻𝖗𝖎𝖓𝖈𝖊

@AntonPrince7

10 Sep

On musical structure; fifth instalment: Rondo Forms

To outline the structure of the rondo forms, we will need to resort to discussing its technical trappings. A general portrait of the rondo forms can be painted, however, by defining a few key characteristics.

1/27

The rondo forms capitalise upon one of music‘s most fundamental principles, namely repetition. They are primarily defined by the repetition of the primary idea, its secondary sections acting as digressions from this primary idea.

2/27

The repetitions of the rondo's main idea, often varied, provide the development of the musical idea. As outlined in Schoenberg‘s words on the form I shared last week, the subordinate sections are merely there to prevent the monotony of hearing repetitions all the time.

3/27

Read 28 tweets

𝕬𝖓𝖙𝖔𝖓 𝕻𝖗𝖎𝖓𝖈𝖊

@AntonPrince7

5 Sep

An overview of the slow movements from Bruckner‘s nine Symphonies; in celebration of his birth date (4 September 1824) the great breadth of which has always astonished and deeply moved me.

First Symphony in c minor:

Second Symphony in c minor:

Third Symphony in d minor:

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𝕬𝖓𝖙𝖔𝖓 𝕻𝖗𝖎𝖓𝖈𝖊

@AntonPrince7

3 Sep

For today's #TheoryThursday, a few words from Arnold Schoenberg as a prelude to the discussion of Rondo form.
Schoenberg disputed the popular notion that the musical rondo is more than superficially an imitation of the poetic “rondeau” (i.e. a repeated refrain and couplets)

1/8

He notes that, in the poetic form, the refrain underlines the common factor of juxtaposed elements, while in the musical form, the repeated section is the main idea—and intervening sections only subordinate digressions.

2/8

The difference is thus, that the stanzas of the poetic “rondeau” develop the idea stated in the refrain, while the digressions from the refrain in the musical rondo serve as complements, to save the repetition of the refrain from the danger of becoming monotonous.

3/8

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