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Thank you for watching.

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Well, up to here I think we have finished Mozart, right?

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Yes, because we already gave the music for piano, we gave the symphony, and the only thing we had left to add was the vocal music.

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And then today we started, well, we can still talk a little bit about the 19th century.

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We started today, in the 19th century, with Beethoven, but first we have to talk about the 19th century.

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All the events, which were many, all the historical events that happened around the figure of Beethoven.

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Beethoven is a little bit longer than Mozart.

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He is longer.

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Yes, because he has...

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As he was younger, he had more...

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I think it was the same, but it was important too.

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It was very important.

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So, we are going to start as far as we can, right?

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We are going to start as far as we can.

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So let's start talking about the 19th century.

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The 19th century is a time when great changes occur in the social, political, economic and cultural fields.

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You all know that by history, right?

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Did you all finish high school?

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You too, Beatriz?

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You too?

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Yes.

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I thought you were younger.

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No.

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So the four of you finished high school?

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Yes.

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Really?

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So you did your studies, right?

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Yes.

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Yes, yes, I can imagine. And you're not working?

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Yes, I'm working.

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Ah, in a school. Last year I was working in a music school too.

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And last year at the beginning, no, not at the beginning.

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At the beginning I had to leave because I got sick.

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Ah, well then I thought that you were, well, usually the students who come at this time are the ones who don't...

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Of course, because in the morning no one goes to the institute of the people.

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Of course, the people who don't have an institute come to this...

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This year it's a little more like that.

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So we continue.

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So the 19th century was a time of...

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that occurs in great changes at a social, political, economic and cultural level.

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In this case, the industrial revolution transformed the economy, displaced the populations of the fields, the cities, and also created a society based on production and distribution in series.

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What I did here was to bring out the most important things, to talk a little about what was happening.

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So all these changes, and all these changes are the result of a large and influential middle class that also lived transformations in musical life.

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As for music, the pianos and printed music expanded the market of musical practice in homes, and songs and pieces for piano were originated.

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So at that time it was very normal for people to play a lot, to have a lot of activities at home, with the piano and by the way people started to invent songs for the same reason, right?

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The musical audience increased, and many musical institutions, such as opera companies, professional orchestras, and concert halls, grew in number and size.

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The 19th century musicians worked for the public, and they taught the fans, and they became virtuosos of instruments.

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Also in this music, at this time, a new, individual, spectacular, more nationalist, exotic music was created.

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And also that they had characteristics, that they were born with attractive characteristics.

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You know that this year, well, with the romantics, there will be many who were nationalists.

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And they made a lot of folk music.

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For example, I'm playing right now a piano work

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by a composer named Eduard Grieg.

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I don't know if you've heard the suite of Pergón.

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It's beautiful.

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I'm playing a work by him.

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And he was a folklorist too. He was a nationalist.

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Edgar Greene was a nationalist.

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Yes, I think he was from Norway.

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Or Bohemia, I don't know. I have to look it up.

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There are many.

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Here, in this time of the 19th century, it is where nationalism is accentuated. Chopin was also a nationalist, in one way or another.

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When the time comes, I will explain that part. Exotic music too.

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All these features were characteristic of Romantic music, or Romanticism.

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So, in this year, in this, sorry, in this time, the composers developed new, you know, right?

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That in each time, well, the old genres are worked on, plus the new ones that, how do you call them, that are created.

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This year composers developed new styles and created new types of instrumental music.

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The symphonic poem, for example, says that new types of instrumental music were created,

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from virtuoso pieces to symphonic poems.

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And new operatic traditions in Italy, in France, in Germany, in Russia and other countries.

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You are going to hear in Russia about the group of the five, who were also nationalists.

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Cesar Cui, Borodin, Palakiria, those people wrote beautiful melodies, folkloric melodies, but very beautiful.

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Two fundamental changes took place in this time.

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Two changes, but also very important.

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The first, the emergence of a stable repertoire of classical music, that is the first, of classical music, that was the first, and the second is, there was a distance between classical music and popular music, that separation was growing every time.

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This year you are going to like it even more.

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There are many composers, we are going to get bored.

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Beethoven is the borderline of both.

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When we finish Beethoven, we are going to get into what is romanticism.

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So let's talk a little bit about Beethoven's life.

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In all these...

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In all these...

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In all these number of changes

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that I've told you about,

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in all these changes,

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Beethoven is born.

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And we're going to talk a little bit now about Ludwig van Beethoven.

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We're going to write a little bit of biography data.

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Well, Beethoven was born in Bonn.

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Bonn.

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B-O-N-N.

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Son of Maria Magdalena Reverich.

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And of Johann van Beethoven.

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A tenor of the electoral court of Cologne.

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His grandfather, who was in charge of the chapel, worked there in the Electoral Court.

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His father wanted to turn him into a second Mozart, so he started teaching him piano, organ and clarinet from an early age.

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clarinet. My mother, how a child so small goes down. That is a step, it seems to me. So small,

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three instruments like that, piano, clarinet, but what is that? Well, also in the time, right? Now,

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as you tell a child who has to stop playing those little machines, because he has to

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He can play three instruments. He sends you to fry potatoes.

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It's true.

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At the age of seven, he gave his first concert in public.

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At the age of 12, he published his first composition, which were some variations.

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At the age of 13, he was hired as a violinist in the court of Prince Hector de Colonia.

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At the age of 13, yes.

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He was hired as a violinist in the court of the Prince Elector of Cologne.

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At the age of 17, Warstein, W-A-L-D-S-T-E-I-N,

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made his trip to Vienna.

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So, on that trip to Vienna, it was supposed that he was going to meet Moza.

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but it was not yet possible to prove whether he knew Moza or not.

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He enjoyed great success as a composer,

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which allowed him to live from the musical editions

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without playing and giving concerts was a necessity.

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That is, he could live from his musical editions,

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that is, from what he composed and it seems that he sold.

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He enjoyed great success as a composer, which allowed him to live from the musical editions without the need to play and give concerts.

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He was the first independent musician, thanks to his publications and his pianistic work.

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The aristocracy of Viennese fixed him, even on two occasions, a pension that made him an independent artist.

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La sordera que sufrió se fue agravando progresivamente, de manera más intensa durante los últimos años de su vida, lo cual lo llevó a comunicarse a través de cuadernos de conversación que son, a día de hoy, un documento de valor etnográfico incalculable.

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Madre mía, además de las solteras sufrió a lo largo de su vida numerosas dolencias, cirrosis hepática, pancreatitis, madre mía, nefropatía, etc.

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Madre mía, y así mismo mira todas las cosas que hizo, todo el acervo musical que tiene.

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Madre mía, es que es imposible, vaya.

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Among the most outstanding features of his personality, his autocratic character stands out,

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which not only prevented him from maintaining an attitude of serving with his patrons, but even treated them with special hardness.

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He says, Beethoven was a classical musician who, however, was constituted by his life and work as an important symbol for the next generation.

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In other words, when you talk about the later generations, you are referring to Romanticism, okay?

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That he was like a model for the later generations.

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His vision in terms of the treatment of form in some of his works,

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the work of microform, and the defense of art by art, brings him closer to the Romantic ideal.

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You know that already in Romanticism, the form is given another treatment, right?

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It is true that there are many forms, there are small forms,

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Nocturnal, the Polonaise, all those are microforms.

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And then the great forms like the symphonic poem, the concerto.

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However, the respect that a large part of his work shows by the classical formal types

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and the genres that he mostly developed, quartets, symphonies, sonatas,

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they place him as a classical composer.

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The respect that a large part of his master's work,

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due to the classical formal types,

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and the genres that he mostly developed,

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which were quartets, concerts, symphonies, sonatas,

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they place him as a classical composer.

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In other words, on the one hand,

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due to the treatment of the forms and that,

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He gets closer to the romantic ideal, but that's on the one hand when he does works of genres that are small forms, songs, that's what I mean, right?

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There he gets closer to the romantic ideal, but now when he makes his symphonies, his concerts, his quartets, that brings him closer to what classicism is.

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I play a complete sonata from him, that one of the movements was very chordical that it looked like a quartet, that they had made a transcription of a quartet for piano.

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Very beautiful, very well thought out.

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His most relevant catalogue is composed of, that is, the most important works of his are

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Symphonic music. Well, symphonic music has 9 symphonies, 11 overtures, 1 concerto for violin and 5 concertos for piano.

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Music of the camera has 16 string quartets, 9 trios with piano. Diego, have you played any trio?

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Ah, because look at the trio, piano, violin and cello, that is the most usual set.

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9 trios con piano, 10 sonatas para violín y piano

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y 5 para cello y piano

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Música Pianista tiene de 30 a 32 sonatas

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ponemos así porque a lo mejor en alguna de las fuentes

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no dan un, no dan un, ¿cómo se llama? un número exacto

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a veces dicen 32, otras 30, entonces ponemos así para

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20, let's see, from 30 to 32 sonatas, 20 series of variations, and many small pieces.

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Vocal music has one oratorio, two masses and an opera.

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The same as Fidelio, the opera Fidelio, yes.

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It says, formation and outstanding influences.

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Well, the first remarkable influence was that of his father, whose pedagogical inexperience led him to look for new teachers.

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So I imagine how he treated his father when he was looking for another teacher.

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He was a student of Haydn in a very short time.

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He studied vocal composition with Antonio Salieri.

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And I also studied counterpoint with Johann Georg.

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He has three creative periods.

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Until 1802, in this stage, he assimilates the musical language of his time.

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He assimilates a musical language of his time, but at the same time he is looking for his own musical identity, his own style.

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Although he is influenced by Haydn, by Mozart, he in turn is looking for his own style, isn't he?

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Of these phases, there are the first two symphonies, the first ten sonatas, and the six quartets, opus 18.

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¿Ya? Hasta el 1816. Afirma su independencia creativa. O sea que ya es, ya lo hace ya.

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Hasta luego. Afirma su independencia creativa. Sinfonía de la 3 a la 8. Sonatas hasta la

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opus 90 in this at the moment he also did the opera fidelio obertura cario cariolano

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incidental music for the work ecmo made a concert for violin with hundreds of concerts

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in my love and sun for piano and quartets opus 59 74 and 95 and we are not going to stay here because

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It's 1 p.m. already, and Cristobal is going to kill us.

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No, no, I don't care.

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We'll stay here.

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I'm a commandant.

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Well, we'll stay in the late phase of...

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Oh, Pablo, I didn't put you on.

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Well, I'll put you on.

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Okay.