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HISTORIA DE LA MUSICA SEXTO CPM Arturo Soria 02/03/2021 11.30 H, Parte B - Contenido educativo

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Subido el 3 de marzo de 2021 por Diamelva D.

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Thank you for watching. 00:00:01
Well, up to here I think we have finished Mozart, right? 00:01:59
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. 00:02:51
And then today we started, well, we can still talk a little bit about the 19th century. 00:03:06
We started today, in the 19th century, with Beethoven, but first we have to talk about the 19th century. 00:03:14
All the events, which were many, all the historical events that happened around the figure of Beethoven. 00:03:23
Beethoven is a little bit longer than Mozart. 00:03:34
He is longer. 00:03:40
Yes, because he has... 00:03:42
As he was younger, he had more... 00:03:44
I think it was the same, but it was important too. 00:03:48
It was very important. 00:03:52
So, we are going to start as far as we can, right? 00:03:57
We are going to start as far as we can. 00:04:00
So let's start talking about the 19th century. 00:04:06
The 19th century is a time when great changes occur in the social, political, economic and cultural fields. 00:04:11
You all know that by history, right? 00:04:23
Did you all finish high school? 00:04:27
You too, Beatriz? 00:04:33
You too? 00:04:35
Yes. 00:04:37
I thought you were younger. 00:04:39
No. 00:04:41
So the four of you finished high school? 00:04:43
Yes. 00:04:47
Really? 00:04:51
So you did your studies, right? 00:04:53
Yes. 00:05:02
Yes, yes, I can imagine. And you're not working? 00:05:04
Yes, I'm working. 00:05:22
Ah, in a school. Last year I was working in a music school too. 00:05:23
And last year at the beginning, no, not at the beginning. 00:05:33
At the beginning I had to leave because I got sick. 00:05:36
Ah, well then I thought that you were, well, usually the students who come at this time are the ones who don't... 00:05:40
Of course, because in the morning no one goes to the institute of the people. 00:05:52
Of course, the people who don't have an institute come to this... 00:05:56
This year it's a little more like that. 00:06:04
So we continue. 00:06:07
So the 19th century was a time of... 00:06:09
that occurs in great changes at a social, political, economic and cultural level. 00:06:13
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. 00:06:19
What I did here was to bring out the most important things, to talk a little about what was happening. 00:06:39
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. 00:06:48
As for music, the pianos and printed music expanded the market of musical practice in homes, and songs and pieces for piano were originated. 00:07:03
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? 00:07:32
The musical audience increased, and many musical institutions, such as opera companies, professional orchestras, and concert halls, grew in number and size. 00:07:55
The 19th century musicians worked for the public, and they taught the fans, and they became virtuosos of instruments. 00:08:13
Also in this music, at this time, a new, individual, spectacular, more nationalist, exotic music was created. 00:08:50
And also that they had characteristics, that they were born with attractive characteristics. 00:09:22
You know that this year, well, with the romantics, there will be many who were nationalists. 00:09:36
And they made a lot of folk music. 00:09:44
For example, I'm playing right now a piano work 00:09:50
by a composer named Eduard Grieg. 00:09:54
I don't know if you've heard the suite of Pergón. 00:09:57
It's beautiful. 00:10:05
I'm playing a work by him. 00:10:07
And he was a folklorist too. He was a nationalist. 00:10:11
Edgar Greene was a nationalist. 00:10:18
Yes, I think he was from Norway. 00:10:28
Or Bohemia, I don't know. I have to look it up. 00:10:34
There are many. 00:10:37
Here, in this time of the 19th century, it is where nationalism is accentuated. Chopin was also a nationalist, in one way or another. 00:10:39
When the time comes, I will explain that part. Exotic music too. 00:10:53
All these features were characteristic of Romantic music, or Romanticism. 00:11:05
So, in this year, in this, sorry, in this time, the composers developed new, you know, right? 00:11:21
That in each time, well, the old genres are worked on, plus the new ones that, how do you call them, that are created. 00:11:28
This year composers developed new styles and created new types of instrumental music. 00:11:39
The symphonic poem, for example, says that new types of instrumental music were created, 00:11:45
from virtuoso pieces to symphonic poems. 00:11:59
And new operatic traditions in Italy, in France, in Germany, in Russia and other countries. 00:12:03
You are going to hear in Russia about the group of the five, who were also nationalists. 00:12:19
Cesar Cui, Borodin, Palakiria, those people wrote beautiful melodies, folkloric melodies, but very beautiful. 00:12:26
Two fundamental changes took place in this time. 00:12:37
Two changes, but also very important. 00:12:47
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. 00:12:52
This year you are going to like it even more. 00:13:22
There are many composers, we are going to get bored. 00:13:28
Beethoven is the borderline of both. 00:13:41
When we finish Beethoven, we are going to get into what is romanticism. 00:13:47
So let's talk a little bit about Beethoven's life. 00:13:52
In all these... 00:13:56
In all these... 00:14:00
In all these number of changes 00:14:04
that I've told you about, 00:14:08
in all these changes, 00:14:12
Beethoven is born. 00:14:16
And we're going to talk a little bit now about Ludwig van Beethoven. 00:14:22
We're going to write a little bit of biography data. 00:14:35
Well, Beethoven was born in Bonn. 00:14:41
Bonn. 00:14:45
B-O-N-N. 00:14:46
Son of Maria Magdalena Reverich. 00:14:53
And of Johann van Beethoven. 00:14:59
A tenor of the electoral court of Cologne. 00:15:02
His grandfather, who was in charge of the chapel, worked there in the Electoral Court. 00:15:05
His father wanted to turn him into a second Mozart, so he started teaching him piano, organ and clarinet from an early age. 00:15:21
clarinet. My mother, how a child so small goes down. That is a step, it seems to me. So small, 00:15:35
three instruments like that, piano, clarinet, but what is that? Well, also in the time, right? Now, 00:15:44
as you tell a child who has to stop playing those little machines, because he has to 00:15:51
He can play three instruments. He sends you to fry potatoes. 00:15:58
It's true. 00:16:03
At the age of seven, he gave his first concert in public. 00:16:07
At the age of 12, he published his first composition, which were some variations. 00:16:16
At the age of 13, he was hired as a violinist in the court of Prince Hector de Colonia. 00:16:25
At the age of 13, yes. 00:16:31
He was hired as a violinist in the court of the Prince Elector of Cologne. 00:16:32
At the age of 17, Warstein, W-A-L-D-S-T-E-I-N, 00:16:40
made his trip to Vienna. 00:16:58
So, on that trip to Vienna, it was supposed that he was going to meet Moza. 00:17:03
but it was not yet possible to prove whether he knew Moza or not. 00:17:08
He enjoyed great success as a composer, 00:17:13
which allowed him to live from the musical editions 00:17:31
without playing and giving concerts was a necessity. 00:17:35
That is, he could live from his musical editions, 00:17:41
that is, from what he composed and it seems that he sold. 00:17:45
He enjoyed great success as a composer, which allowed him to live from the musical editions without the need to play and give concerts. 00:17:49
He was the first independent musician, thanks to his publications and his pianistic work. 00:18:00
The aristocracy of Viennese fixed him, even on two occasions, a pension that made him an independent artist. 00:18:10
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. 00:18:27
Madre mía, además de las solteras sufrió a lo largo de su vida numerosas dolencias, cirrosis hepática, pancreatitis, madre mía, nefropatía, etc. 00:19:16
Madre mía, y así mismo mira todas las cosas que hizo, todo el acervo musical que tiene. 00:19:48
Madre mía, es que es imposible, vaya. 00:19:55
Among the most outstanding features of his personality, his autocratic character stands out, 00:20:01
which not only prevented him from maintaining an attitude of serving with his patrons, but even treated them with special hardness. 00:20:13
He says, Beethoven was a classical musician who, however, was constituted by his life and work as an important symbol for the next generation. 00:20:32
In other words, when you talk about the later generations, you are referring to Romanticism, okay? 00:20:58
That he was like a model for the later generations. 00:21:04
His vision in terms of the treatment of form in some of his works, 00:21:11
the work of microform, and the defense of art by art, brings him closer to the Romantic ideal. 00:21:23
You know that already in Romanticism, the form is given another treatment, right? 00:21:33
It is true that there are many forms, there are small forms, 00:21:39
Nocturnal, the Polonaise, all those are microforms. 00:21:44
And then the great forms like the symphonic poem, the concerto. 00:21:50
However, the respect that a large part of his work shows by the classical formal types 00:21:58
and the genres that he mostly developed, quartets, symphonies, sonatas, 00:22:03
they place him as a classical composer. 00:22:07
The respect that a large part of his master's work, 00:22:10
due to the classical formal types, 00:22:16
and the genres that he mostly developed, 00:22:18
which were quartets, concerts, symphonies, sonatas, 00:22:21
they place him as a classical composer. 00:22:26
In other words, on the one hand, 00:22:28
due to the treatment of the forms and that, 00:22:30
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? 00:22:33
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. 00:22:49
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. 00:23:01
Very beautiful, very well thought out. 00:23:18
His most relevant catalogue is composed of, that is, the most important works of his are 00:23:23
Symphonic music. Well, symphonic music has 9 symphonies, 11 overtures, 1 concerto for violin and 5 concertos for piano. 00:23:30
Music of the camera has 16 string quartets, 9 trios with piano. Diego, have you played any trio? 00:23:48
Ah, because look at the trio, piano, violin and cello, that is the most usual set. 00:24:13
9 trios con piano, 10 sonatas para violín y piano 00:24:28
y 5 para cello y piano 00:24:36
Música Pianista tiene de 30 a 32 sonatas 00:24:40
ponemos así porque a lo mejor en alguna de las fuentes 00:24:53
no dan un, no dan un, ¿cómo se llama? un número exacto 00:24:56
a veces dicen 32, otras 30, entonces ponemos así para 00:25:02
20, let's see, from 30 to 32 sonatas, 20 series of variations, and many small pieces. 00:25:06
Vocal music has one oratorio, two masses and an opera. 00:25:17
The same as Fidelio, the opera Fidelio, yes. 00:25:36
It says, formation and outstanding influences. 00:25:50
Well, the first remarkable influence was that of his father, whose pedagogical inexperience led him to look for new teachers. 00:25:56
So I imagine how he treated his father when he was looking for another teacher. 00:26:18
He was a student of Haydn in a very short time. 00:26:22
He studied vocal composition with Antonio Salieri. 00:26:28
And I also studied counterpoint with Johann Georg. 00:26:42
He has three creative periods. 00:26:48
Until 1802, in this stage, he assimilates the musical language of his time. 00:27:09
He assimilates a musical language of his time, but at the same time he is looking for his own musical identity, his own style. 00:27:20
Although he is influenced by Haydn, by Mozart, he in turn is looking for his own style, isn't he? 00:27:33
Of these phases, there are the first two symphonies, the first ten sonatas, and the six quartets, opus 18. 00:27:44
¿Ya? Hasta el 1816. Afirma su independencia creativa. O sea que ya es, ya lo hace ya. 00:27:52
Hasta luego. Afirma su independencia creativa. Sinfonía de la 3 a la 8. Sonatas hasta la 00:28:22
opus 90 in this at the moment he also did the opera fidelio obertura cario cariolano 00:28:37
incidental music for the work ecmo made a concert for violin with hundreds of concerts 00:28:54
in my love and sun for piano and quartets opus 59 74 and 95 and we are not going to stay here because 00:29:15
It's 1 p.m. already, and Cristobal is going to kill us. 00:29:37
No, no, I don't care. 00:29:41
We'll stay here. 00:29:44
I'm a commandant. 00:29:44
Well, we'll stay in the late phase of... 00:29:47
Oh, Pablo, I didn't put you on. 00:29:51
Well, I'll put you on. 00:29:53
Okay. 00:29:56
Idioma/s:
es
Autor/es:
DIAMELVA DIAZ GARCÍA
Subido por:
Diamelva D.
Licencia:
Todos los derechos reservados
Visualizaciones:
98
Fecha:
3 de marzo de 2021 - 10:28
Visibilidad:
Clave
Centro:
CPR MUS CONSERVATORIO PROFESIONAL DE MUSICA (Arturo Soria)
Duración:
29′ 57″
Relación de aspecto:
1.78:1
Resolución:
1280x720 píxeles
Tamaño:
163.31 MBytes

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