Symphonies of Beethoven
Course Credits: 15
Course Curriculum Used:
Symphonies of Beethoven: A series of 32 lectures taught by Robert Greenburg Ph.D., University of California at Berkeley
Course Description
Over the course of these 32 lectures on the history and analysis of Beethoven's nine symphonies, we see how he revolutionized musical composition and created works of unique beauty, power, and depth.
Beethoven's artistic progress is historically measured in three periods:
- The Viennese period, 1792-1802. Symphonies nos. 1 and 2 are composed in this decade. In them, Beethoven innovates within the Classical style.
- The Heroic period, 1803-1815. Symphonies nos. 3, 4, 5, 6, 7, and 8 are composed during this time. With these symphonies, Beethoven makes revolutionary breaks away from the Classical style.
- The Late period, 1820-1826. This period is dominated by the most revolutionary and influential composition of Beethoven's career: Symphony no. 9. Here Beethoven fuses all art forms into one monumental work and heralds a new era of unfettered musical expression.
In addition to listening to the lecture series, the student will also listen to recordings of Beethoven's Symphonies.
Course Lecture Titles
| 1. | Beethoven and the Heroic Style, I |
| 2. | Beethoven and the Heroic Style, II |
| 3. | Beethoven and the Heroic Style, III |
| 4. | Beethoven and the Heroic Style, IV |
| 5. | Symphony No. 1-Beethoven as Classicist-Tradition and Innovation, I |
| 6. | Symphony No. 1-Beethoven as Classicist-Tradition and Innovation, II |
| 7. | Symphony No. 2-Beethoven at the Edge, I |
| 8. | Symphony No. 2-Beethoven at the Edge, II |
| 9. | Symphony No. 3-The "New Path"-Heroism and Self-Expression, I |
| 10. | Symphony No. 3-The "New Path"-Heroism and Self-Expression, II |
| 11. | Symphony No. 3-The "New Path"-Heroism and Self-Expression, III |
| 12. | Symphony No. 3-The "New Path"-Heroism and Self-Expression, IV |
| 13. | Symphony No. 4-Consolidation of the New Aesthetic, I |
| 14. | Symphony No. 4-Consolidation of the New Aesthetic, II |
| 15. | Symphony No. 4-Consolidation of the New Aesthetic, III |
| 16. | Symphony No. 4-Consolidation of the New Aesthetic, IV |
| 17. | Symphony No. 5-The Expressive Ideal Fully Formed, I |
| 18. | Symphony No. 5-The Expressive Ideal Fully Formed, II |
| 19. | Symphony No. 5-The Expressive Ideal Fully Formed, III |
| 20. | Symphony No. 6-The Symphony as Program, I |
| 21. | Symphony No. 6-The Symphony as Program, II |
| 22. | Symphony No. 6-The Symphony as Program, III |
| 23. | Symphony No. 7-The Symphony as Dance, I |
| 24. | Symphony No. 7-The Symphony as Dance, II |
| 25. | Symphony No. 8-Homage to Classicism, I |
| 26. | Symphony No. 8-Homage to Classicism, II |
| 27. | Symphony No. 8-Homage to Classicism, III |
| 28. | Symphony No. 9-The Symphony as the World, I |
| 29. | Symphony No. 9-The Symphony as the World, II |
| 30. | Symphony No. 9-The Symphony as the World, III |
| 31. | Symphony No. 9-The Symphony as the World, IV |
| 32. | Symphony No. 9-The Symphony as the World, V |