WEBVTT 00:00.866 --> 00:04.566 align:start position:47.5% line:10% size:5% ♪♪ 00:04.700 --> 00:06.600 align:start position:15% line:84.67% size:70% -Beethoven's Fifth Symphony. 00:06.733 --> 00:08.866 align:start position:35% line:79.33% size:32.5% We'll explore the first movement, next, 00:09.000 --> 00:11.200 align:start position:17.5% line:84.67% size:65% on this Discovery Concert. 00:12.566 --> 00:14.233 align:start position:35% line:79.33% size:30% -Funding for this Discovery Concert 00:14.366 --> 00:16.300 align:start position:22.5% line:79.33% size:55% has been made possible in part by... 01:12.966 --> 01:19.666 align:start position:47.5% line:10% size:5% ♪♪ 01:19.833 --> 01:26.600 align:start position:47.5% line:10% size:5% ♪♪ 01:26.733 --> 01:28.233 align:start position:17.5% line:10% size:67.5% -I'm George Marriner Maull, 01:28.366 --> 01:31.100 align:start position:25% line:10% size:50% artistic director of the Discovery Orchestra, 01:31.233 --> 01:34.933 align:start position:12.5% line:10% size:75% where we believe that the more detail we notice in music, 01:35.066 --> 01:38.400 align:start position:10% line:10% size:80% the more pleasure we can receive from listening to it. 01:38.533 --> 01:41.266 align:start position:25% line:79.33% size:52.5% Ludwig Van Beethoven, while completing other projects, 01:41.400 --> 01:45.633 align:start position:27.5% line:79.33% size:45% worked off and on, from 1804 until 1808, 01:45.766 --> 01:47.700 align:start position:15% line:84.67% size:72.5% to finish his Fifth Symphony, 01:47.833 --> 01:50.933 align:start position:17.5% line:79.33% size:67.5% perhaps the most well-known of all his works. 01:51.066 --> 01:53.933 align:start position:12.5% line:79.33% size:75% We know the tragic loss of his hearing was also in progress, 01:54.066 --> 01:57.800 align:start position:15% line:79.33% size:70% yet, amazingly, he conducted the first performance 01:57.933 --> 02:00.433 align:start position:25% line:10% size:52.5% on December 22, 1808. 02:00.566 --> 02:03.800 align:start position:32.5% line:10% size:35% Join us now as the Discovery Orchestra and I 02:03.933 --> 02:05.966 align:start position:32.5% line:10% size:37.5% explore details of the first movement 02:06.100 --> 02:07.800 align:start position:15% line:10% size:72.5% of Beethoven's Fifth Symphony 02:07.933 --> 02:09.900 align:start position:17.5% line:10% size:65% in this Discovery Concert. 02:10.033 --> 02:11.733 align:start position:35% line:84.67% size:30% [ Applause ] 02:24.866 --> 02:34.400 align:start position:47.5% line:10% size:5% ♪♪ 02:34.566 --> 02:44.100 align:start position:47.5% line:10% size:5% ♪♪ 02:44.266 --> 02:53.866 align:start position:47.5% line:10% size:5% ♪♪ 02:54.033 --> 03:03.566 align:start position:47.5% line:10% size:5% ♪♪ 03:03.733 --> 03:13.266 align:start position:47.5% line:10% size:5% ♪♪ 03:13.433 --> 03:23.000 align:start position:47.5% line:10% size:5% ♪♪ 03:23.166 --> 03:32.700 align:start position:47.5% line:10% size:5% ♪♪ 03:32.866 --> 03:42.400 align:start position:47.5% line:10% size:5% ♪♪ 03:42.566 --> 03:52.133 align:start position:47.5% line:10% size:5% ♪♪ 03:52.300 --> 04:01.866 align:start position:47.5% line:10% size:5% ♪♪ 04:02.033 --> 04:11.566 align:start position:47.5% line:10% size:5% ♪♪ 04:11.733 --> 04:21.266 align:start position:47.5% line:10% size:5% ♪♪ 04:21.433 --> 04:31.000 align:start position:47.5% line:10% size:5% ♪♪ 04:31.166 --> 04:40.700 align:start position:47.5% line:10% size:5% ♪♪ 04:40.866 --> 04:50.433 align:start position:47.5% line:10% size:5% ♪♪ 04:50.600 --> 05:00.133 align:start position:47.5% line:10% size:5% ♪♪ 05:00.333 --> 05:09.866 align:start position:47.5% line:10% size:5% ♪♪ 05:10.033 --> 05:19.566 align:start position:47.5% line:10% size:5% ♪♪ 05:19.733 --> 05:29.266 align:start position:47.5% line:10% size:5% ♪♪ 05:29.433 --> 05:39.000 align:start position:47.5% line:10% size:5% ♪♪ 05:39.166 --> 05:48.733 align:start position:47.5% line:10% size:5% ♪♪ 05:48.900 --> 05:58.433 align:start position:47.5% line:10% size:5% ♪♪ 05:58.600 --> 06:08.166 align:start position:47.5% line:10% size:5% ♪♪ 06:08.333 --> 06:17.866 align:start position:47.5% line:10% size:5% ♪♪ 06:18.033 --> 06:27.566 align:start position:47.5% line:10% size:5% ♪♪ 06:27.733 --> 06:37.266 align:start position:47.5% line:10% size:5% ♪♪ 06:37.433 --> 06:47.033 align:start position:47.5% line:10% size:5% ♪♪ 06:47.200 --> 06:56.733 align:start position:47.5% line:10% size:5% ♪♪ 06:56.900 --> 07:06.433 align:start position:47.5% line:10% size:5% ♪♪ 07:06.600 --> 07:16.166 align:start position:47.5% line:10% size:5% ♪♪ 07:16.333 --> 07:25.866 align:start position:47.5% line:10% size:5% ♪♪ 07:26.033 --> 07:35.566 align:start position:47.5% line:10% size:5% ♪♪ 07:35.733 --> 07:45.300 align:start position:47.5% line:10% size:5% ♪♪ 07:45.466 --> 07:55.033 align:start position:47.5% line:10% size:5% ♪♪ 07:55.200 --> 08:04.733 align:start position:47.5% line:10% size:5% ♪♪ 08:04.900 --> 08:14.433 align:start position:47.5% line:10% size:5% ♪♪ 08:14.600 --> 08:24.166 align:start position:47.5% line:10% size:5% ♪♪ 08:24.333 --> 08:33.866 align:start position:47.5% line:10% size:5% ♪♪ 08:34.033 --> 08:43.600 align:start position:47.5% line:10% size:5% ♪♪ 08:43.766 --> 08:53.300 align:start position:47.5% line:10% size:5% ♪♪ 08:53.466 --> 09:03.033 align:start position:47.5% line:10% size:5% ♪♪ 09:03.200 --> 09:12.733 align:start position:47.5% line:10% size:5% ♪♪ 09:12.900 --> 09:22.433 align:start position:47.5% line:10% size:5% ♪♪ 09:22.600 --> 09:32.166 align:start position:47.5% line:10% size:5% ♪♪ 09:32.333 --> 09:41.900 align:start position:47.5% line:10% size:5% ♪♪ 09:42.066 --> 09:51.600 align:start position:47.5% line:10% size:5% ♪♪ 09:51.766 --> 10:01.366 align:start position:47.5% line:10% size:5% ♪♪ 10:01.500 --> 10:05.266 align:start position:35% line:84.67% size:30% [ Applause ] 10:09.866 --> 10:10.900 align:start position:37.5% line:84.67% size:25% Thank you. 10:17.700 --> 10:21.933 align:start position:15% line:79.33% size:70% Thank you for that wonderful show of appreciation. 10:22.066 --> 10:24.633 align:start position:15% line:84.67% size:70% I know what you're thinking. 10:24.766 --> 10:27.966 align:start position:30% line:79.33% size:40% You're thinking, "I know this piece. 10:28.100 --> 10:30.200 align:start position:22.5% line:84.67% size:57.5% Been there, done that." 10:30.333 --> 10:34.200 align:start position:15% line:79.33% size:70% And, if you believe that you know everything there is to know 10:34.333 --> 10:37.533 align:start position:30% line:79.33% size:42.5% about Beethoven's Fifth Symphony, you're excused. 10:37.666 --> 10:39.700 align:start position:25% line:79.33% size:50% But for those of you who are staying, 10:39.833 --> 10:41.233 align:start position:15% line:84.67% size:72.5% we just want you to know that 10:41.366 --> 10:43.600 align:start position:22.5% line:79.33% size:55% we're very, very happy to be with you 10:43.733 --> 10:45.200 align:start position:30% line:84.67% size:42.5% and we thank you. 10:45.333 --> 10:48.900 align:start position:12.5% line:79.33% size:75% We will ask you tonight during the performance to respond 10:49.033 --> 10:50.233 align:start position:30% line:84.67% size:40% in certain ways. 10:50.366 --> 10:53.266 align:start position:15% line:79.33% size:70% I'll be asking you sometimes to put up your hands 10:53.400 --> 10:55.533 align:start position:20% line:79.33% size:60% to show that you noticed something in the music, 10:55.666 --> 10:57.533 align:start position:20% line:84.67% size:62.5% or perhaps even to stand. 10:57.666 --> 10:59.866 align:start position:22.5% line:79.33% size:55% Now, if those physical responses 11:00.000 --> 11:04.600 align:start position:10% line:79.33% size:80% are not easy to do, feel free to invent a response of your own. 11:04.733 --> 11:08.000 align:start position:12.5% line:79.33% size:75% If you want to do the eyebrows or blink at us, 11:08.133 --> 11:11.066 align:start position:22.5% line:79.33% size:57.5% whatever you want to do to indicate that you notice 11:11.200 --> 11:12.700 align:start position:20% line:84.67% size:62.5% what we're doing up here. 11:12.833 --> 11:15.666 align:start position:20% line:84.67% size:60% So, feel free to invent. 11:15.800 --> 11:20.066 align:start position:25% line:79.33% size:50% Composers always use a recipe of some kind 11:20.200 --> 11:22.533 align:start position:22.5% line:79.33% size:55% when they are creating a piece of music. 11:22.666 --> 11:26.033 align:start position:15% line:79.33% size:72.5% They don't just sort of throw sounds together. 11:26.166 --> 11:27.800 align:start position:17.5% line:84.67% size:65% They actually have a plan. 11:27.933 --> 11:30.700 align:start position:17.5% line:79.33% size:65% It's very similar to chefs in the kitchen. 11:30.833 --> 11:32.600 align:start position:17.5% line:79.33% size:65% And they also, like chefs, feel free 11:32.733 --> 11:35.000 align:start position:15% line:79.33% size:72.5% to change the recipe slightly if they feel like it. 11:35.133 --> 11:37.600 align:start position:17.5% line:79.33% size:67.5% You know, a little bit more paprikash here, 11:37.733 --> 11:39.866 align:start position:20% line:79.33% size:62.5% you know, a couple dashes of sugar over there. 11:40.000 --> 11:42.866 align:start position:12.5% line:79.33% size:75% It doesn't matter if they want to change it slightly, 11:43.000 --> 11:44.933 align:start position:25% line:79.33% size:50% as long as it serves their purposes. 11:45.066 --> 11:48.966 align:start position:10% line:79.33% size:80% Now, the specific musical recipe that Beethoven was using 11:49.100 --> 11:53.700 align:start position:20% line:10% size:62.5% on this occasion is known as sonata allegro form, 11:53.833 --> 11:56.400 align:start position:25% line:10% size:52.5% sometimes just called sonata form for short. 11:56.533 --> 12:01.100 align:start position:25% line:79.33% size:52.5% Sonata form has three large sections. 12:01.233 --> 12:03.533 align:start position:17.5% line:79.33% size:67.5% The first section is called the exposition, 12:03.666 --> 12:06.233 align:start position:27.5% line:79.33% size:45% the second section is called the development, 12:06.366 --> 12:09.166 align:start position:12.5% line:79.33% size:77.5% and the third section is called the recapitulation. 12:09.300 --> 12:11.400 align:start position:12.5% line:79.33% size:77.5% Now, we're going to investigate these sections tonight 12:11.533 --> 12:12.800 align:start position:25% line:84.67% size:52.5% to help us understand 12:12.933 --> 12:15.733 align:start position:15% line:79.33% size:70% how he created this movement that we just played for you. 12:15.866 --> 12:20.666 align:start position:20% line:79.33% size:60% All movements written in sonata form have a first theme, 12:20.800 --> 12:23.033 align:start position:22.5% line:84.67% size:55% which is, of course... 12:23.166 --> 12:24.400 align:start position:32.5% line:84.67% size:35% -Da-da-da-dah. 12:24.533 --> 12:26.766 align:start position:35% line:84.67% size:30% [ Laughter ] 12:26.900 --> 12:28.733 align:start position:12.5% line:79.33% size:75% -Yeah, this is the theme known 'round the world. 12:28.866 --> 12:30.233 align:start position:25% line:84.67% size:50% Tell it to me again. 12:30.366 --> 12:32.400 align:start position:30% line:84.67% size:42.5% -♪ Da-da-da-dah ♪ 12:32.533 --> 12:34.333 align:start position:30% line:79.33% size:40% -Right, exactly. That's the one. 12:34.466 --> 12:37.933 align:start position:22.5% line:79.33% size:55% That's the first theme of this movement. 12:38.066 --> 12:40.533 align:start position:25% line:79.33% size:50% We're going to break the audience into four parts. 12:40.666 --> 12:43.333 align:start position:20% line:79.33% size:62.5% We're going to assign you a theme. 12:43.466 --> 12:44.866 align:start position:32.5% line:84.67% size:37.5% Balcony people, 12:45.000 --> 12:48.733 align:start position:17.5% line:79.33% size:67.5% you are owners of the first theme of this movement. 12:48.866 --> 12:51.433 align:start position:27.5% line:79.33% size:47.5% We're going to play the first theme for you, 12:51.566 --> 12:52.666 align:start position:27.5% line:84.67% size:45% and as we play it, 12:52.800 --> 12:56.033 align:start position:15% line:79.33% size:72.5% I want you to wave your hands so that we know 12:56.166 --> 12:57.566 align:start position:20% line:84.67% size:60% that you own this thing. 12:58.900 --> 13:06.700 align:start position:47.5% line:10% size:5% ♪♪ 13:06.866 --> 13:14.633 align:start position:47.5% line:10% size:5% ♪♪ 13:14.800 --> 13:22.666 align:start position:47.5% line:10% size:5% ♪♪ 13:22.800 --> 13:23.866 align:start position:32.5% line:84.67% size:37.5% You were great. 13:24.000 --> 13:25.900 align:start position:20% line:84.67% size:62.5% [ Laughter and applause ] 13:26.033 --> 13:30.366 align:start position:20% line:79.33% size:62.5% Now, where there's smoke, there's... 13:30.500 --> 13:31.800 align:start position:42.5% line:79.33% size:15% -Fire. -Right, and where there's 13:31.933 --> 13:34.866 align:start position:15% line:79.33% size:72.5% a first theme, there's always a second theme. 13:35.000 --> 13:37.333 align:start position:22.5% line:79.33% size:57.5% What's the second theme of this movement? 13:38.866 --> 13:40.133 align:start position:20% line:84.67% size:62.5% The silence is deafening. 13:40.266 --> 13:41.366 align:start position:27.5% line:84.67% size:45% [ Light laughter ] 13:41.500 --> 13:43.466 align:start position:27.5% line:79.33% size:45% We don't know what the second theme is, do we? 13:43.600 --> 13:46.033 align:start position:12.5% line:79.33% size:75% Maybe. But I'll tell you what, we're going to assign it 13:46.166 --> 13:47.866 align:start position:20% line:84.67% size:60% to the center orchestra. 13:48.000 --> 13:51.033 align:start position:17.5% line:79.33% size:67.5% Now, as we play it for you, we would appreciate it if you 13:51.166 --> 13:52.700 align:start position:25% line:79.33% size:52.5% would wave your hands to that. 13:52.833 --> 13:55.200 align:start position:20% line:79.33% size:62.5% If the orchestra would be so kind to provide us 13:55.333 --> 13:58.200 align:start position:22.5% line:79.33% size:55% with the second theme, I'll watch you while you wave. 13:59.166 --> 14:04.733 align:start position:47.5% line:10% size:5% ♪♪ 14:04.900 --> 14:10.500 align:start position:47.5% line:10% size:5% ♪♪ 14:10.633 --> 14:13.566 align:start position:25% line:79.33% size:52.5% You see, it's kind of a stentorian question 14:13.700 --> 14:16.933 align:start position:17.5% line:79.33% size:67.5% from the horns, followed by this very lovely, 14:17.066 --> 14:19.966 align:start position:20% line:79.33% size:62.5% warm, fuzzy answer that's repeated three times. 14:20.100 --> 14:25.233 align:start position:10% line:79.33% size:80% But composers don't like to just jump from one theme to another 14:25.366 --> 14:26.833 align:start position:22.5% line:84.67% size:57.5% sort of helter-skelter. 14:26.966 --> 14:29.733 align:start position:37.5% line:79.33% size:27.5% To continue our food analogy here, 14:29.866 --> 14:32.200 align:start position:15% line:79.33% size:70% they like to write a sort of musical mayonnaise. 14:32.333 --> 14:34.500 align:start position:22.5% line:79.33% size:57.5% If you can imagine how, in a sandwich, 14:34.633 --> 14:38.233 align:start position:15% line:79.33% size:70% the mayonnaise sort of melds the disparate elements 14:38.366 --> 14:41.366 align:start position:12.5% line:79.33% size:75% of the sandwich into some sort of edible concoction, 14:41.500 --> 14:45.766 align:start position:17.5% line:79.33% size:67.5% composers write transitions to bring us logically 14:45.900 --> 14:47.366 align:start position:17.5% line:84.67% size:67.5% from one theme to the next. 14:47.500 --> 14:50.900 align:start position:17.5% line:79.33% size:67.5% So this exposition also has a transition, 14:51.033 --> 14:53.300 align:start position:20% line:79.33% size:62.5% which I'm going to assign to you, over here, 14:53.433 --> 14:55.033 align:start position:15% line:84.67% size:72.5% in the orchestra to my right. 14:55.166 --> 14:58.066 align:start position:20% line:79.33% size:62.5% Listen to this transition as we play it, and wave. 14:59.366 --> 15:07.700 align:start position:47.5% line:10% size:5% ♪♪ 15:07.866 --> 15:16.200 align:start position:47.5% line:10% size:5% ♪♪ 15:16.333 --> 15:17.766 align:start position:25% line:84.67% size:50% Fun, isn't it? Okay. 15:19.400 --> 15:22.633 align:start position:17.5% line:79.33% size:67.5% And, of course, to conclude an exposition, 15:22.766 --> 15:26.433 align:start position:10% line:79.33% size:80% we have a way of rounding it out called the closing section. 15:26.566 --> 15:28.733 align:start position:20% line:79.33% size:62.5% And we're going to assign the closing section 15:28.866 --> 15:30.800 align:start position:12.5% line:79.33% size:75% to the people in the orchestra on my left. 15:30.933 --> 15:35.766 align:start position:15% line:79.33% size:72.5% So, would you wave as we play the closing section for you? 15:37.233 --> 15:47.000 align:start position:47.5% line:10% size:5% ♪♪ 15:47.166 --> 15:57.000 align:start position:47.5% line:10% size:5% ♪♪ 15:57.133 --> 15:59.933 align:start position:10% line:84.67% size:80% Usually, composers like to write 16:00.066 --> 16:02.866 align:start position:32.5% line:79.33% size:35% discrete ideas for these sections. 16:03.000 --> 16:04.866 align:start position:12.5% line:79.33% size:75% The first theme will not sound like the second theme. 16:05.000 --> 16:07.366 align:start position:12.5% line:79.33% size:77.5% Let's suppose that the composer wrote for the first theme... 16:07.500 --> 16:09.433 align:start position:20% line:84.67% size:62.5% ♪ Dum-ba-di-di-di-di-di ♪ 16:09.566 --> 16:11.100 align:start position:22.5% line:84.67% size:55% ♪ Dum-ba-di-di-di-da ♪ 16:11.233 --> 16:14.166 align:start position:12.5% line:79.33% size:72.5% We would get something really different for us to latch onto 16:14.300 --> 16:15.233 align:start position:15% line:84.67% size:72.5% in the second theme, maybe... 16:15.366 --> 16:17.100 align:start position:27.5% line:84.67% size:47.5% ♪ Dee-da-da-da-da ♪ 16:17.233 --> 16:18.800 align:start position:17.5% line:84.67% size:65% ♪ Da-da-da, dee-da-da-da ♪ 16:18.933 --> 16:20.133 align:start position:20% line:84.67% size:62.5% Something very different. 16:20.266 --> 16:21.566 align:start position:10% line:84.67% size:80% And the same thing would be true 16:21.700 --> 16:24.633 align:start position:25% line:79.33% size:52.5% of the transition and the closing section as well. 16:24.766 --> 16:26.766 align:start position:20% line:79.33% size:60% You would feel that they are distinct. 16:26.900 --> 16:29.933 align:start position:15% line:84.67% size:72.5% But, in this particular case, 16:30.066 --> 16:32.233 align:start position:35% line:84.67% size:30% Beethoven... 16:32.366 --> 16:35.433 align:start position:15% line:79.33% size:72.5% Well, did you notice anything about these parts? 16:35.566 --> 16:38.333 align:start position:10% line:79.33% size:80% I mean, was there anything about the musical content 16:38.466 --> 16:40.700 align:start position:20% line:79.33% size:62.5% of each of these sections that seemed similar? 16:42.166 --> 16:44.700 align:start position:22.5% line:79.33% size:55% Let me remind you that "da-da-da-dah" 16:44.833 --> 16:47.400 align:start position:22.5% line:79.33% size:55% seemed to be occurring in every single one of them. 16:47.533 --> 16:51.300 align:start position:15% line:79.33% size:70% In fact, before the 1 minute and 30 seconds 16:51.433 --> 16:54.033 align:start position:15% line:79.33% size:72.5% of this particular exposition is over, 16:54.166 --> 16:57.366 align:start position:12.5% line:79.33% size:77.5% Beethoven has used the rhythmic figure "da-da-da-dah" 16:57.500 --> 17:00.000 align:start position:27.5% line:84.67% size:47.5% more than 50 times. 17:00.133 --> 17:02.233 align:start position:17.5% line:79.33% size:65% So if he were alive today, we could give him 17:02.366 --> 17:05.666 align:start position:20% line:79.33% size:60% the Green Composer Award for getting the most mileage 17:05.800 --> 17:07.333 align:start position:20% line:84.67% size:60% out of one musical idea. 17:07.466 --> 17:10.033 align:start position:35% line:84.67% size:30% [ Laughter ] 17:10.166 --> 17:14.233 align:start position:12.5% line:79.33% size:75% Alright, we've now covered all the parts of this exposition. 17:14.400 --> 17:17.400 align:start position:37.5% line:79.33% size:25% Of course, we have our first theme. 17:17.533 --> 17:20.466 align:start position:22.5% line:84.67% size:57.5% We have our transition. 17:20.600 --> 17:22.400 align:start position:17.5% line:79.33% size:65% I'm beginning to feel like an airline attendant 17:22.533 --> 17:23.400 align:start position:27.5% line:84.67% size:45% showing the exits. 17:23.533 --> 17:26.133 align:start position:20% line:84.67% size:62.5% We have our second theme. 17:26.266 --> 17:29.566 align:start position:22.5% line:79.33% size:57.5% And we have, of course, our closing section over here. 17:29.700 --> 17:32.566 align:start position:12.5% line:79.33% size:77.5% Why don't you say it, just so I know you're grounded in this? 17:32.700 --> 17:35.833 align:start position:20% line:79.33% size:60% I will just point to you and you say your thing. 17:35.966 --> 17:39.700 align:start position:20% line:79.33% size:60% First theme, transition, second theme, closing section, 17:39.833 --> 17:41.333 align:start position:22.5% line:79.33% size:55% when I point to you -- Are you ready? 17:41.466 --> 17:43.066 align:start position:30% line:84.67% size:42.5% -The first theme. 17:43.200 --> 17:44.466 align:start position:35% line:84.67% size:30% -Exposition. 17:44.600 --> 17:45.833 align:start position:32.5% line:84.67% size:35% -Second theme. 17:45.966 --> 17:47.300 align:start position:40% line:84.67% size:22.5% -Closing. 17:47.433 --> 17:50.266 align:start position:12.5% line:79.33% size:75% -Exactly, the closing section, so now we have all the parts. 17:50.400 --> 17:52.200 align:start position:15% line:79.33% size:72.5% What we're going to do now is we're going to play 17:52.333 --> 17:54.100 align:start position:12.5% line:84.67% size:75% the entire exposition for you, 17:54.233 --> 17:57.333 align:start position:15% line:79.33% size:70% and your mission, should you choose to accept it, is, 17:57.466 --> 18:01.233 align:start position:17.5% line:79.33% size:67.5% when your material is being played, wave your hands. 18:01.366 --> 18:03.866 align:start position:10% line:79.33% size:80% Now, you might want to wave even in time with the music. 18:04.000 --> 18:05.966 align:start position:12.5% line:79.33% size:77.5% I would just ask you just to be a little careful. 18:06.100 --> 18:08.200 align:start position:17.5% line:79.33% size:65% We don't want any injuries to take place. 18:08.333 --> 18:10.933 align:start position:20% line:79.33% size:62.5% Just be mindful of people that are around you 18:11.066 --> 18:12.900 align:start position:17.5% line:84.67% size:67.5% as you're moving your body. 18:13.566 --> 18:21.300 align:start position:47.5% line:10% size:5% ♪♪ 18:21.466 --> 18:29.200 align:start position:47.5% line:10% size:5% ♪♪ 18:29.366 --> 18:37.200 align:start position:47.5% line:10% size:5% ♪♪ 18:38.300 --> 18:40.000 align:start position:35% line:84.67% size:30% [ Laughter ] 18:40.133 --> 18:41.333 align:start position:35% line:84.67% size:32.5% What's funny? 18:41.466 --> 18:42.766 align:start position:35% line:84.67% size:32.5% -Wrong music. 18:42.900 --> 18:45.866 align:start position:30% line:79.33% size:42.5% -Right. We played the wrong music. 18:46.000 --> 18:48.166 align:start position:17.5% line:79.33% size:67.5% We played the last movement on purpose, 18:48.300 --> 18:50.300 align:start position:22.5% line:79.33% size:57.5% just to see if you were actually paying attention. 18:50.433 --> 18:52.300 align:start position:35% line:84.67% size:30% [ Laughter ] 18:52.433 --> 18:56.566 align:start position:17.5% line:79.33% size:65% And we did that because we wanted to just revisit 18:56.700 --> 18:59.033 align:start position:25% line:79.33% size:50% this whole idea that listening to music 18:59.166 --> 19:02.433 align:start position:32.5% line:79.33% size:37.5% is not the same as hearing music. 19:02.566 --> 19:05.300 align:start position:22.5% line:79.33% size:55% Now, we can physically hear music, 19:05.433 --> 19:08.766 align:start position:22.5% line:79.33% size:55% while we do all manner of other things. 19:08.900 --> 19:11.300 align:start position:25% line:79.33% size:52.5% I mean, for instance, we can be dining 19:11.433 --> 19:13.066 align:start position:15% line:84.67% size:70% or we can be driving the car 19:13.200 --> 19:15.733 align:start position:27.5% line:79.33% size:42.5% and have music on in the background. 19:15.866 --> 19:18.366 align:start position:25% line:79.33% size:52.5% Even when you're here in the concert hall, 19:18.500 --> 19:20.866 align:start position:17.5% line:84.67% size:65% we know what you're doing, 19:21.000 --> 19:22.900 align:start position:27.5% line:79.33% size:45% because we see you from up here. 19:23.033 --> 19:24.933 align:start position:20% line:79.33% size:62.5% But what are people doing while we're playing? 19:25.066 --> 19:26.833 align:start position:20% line:79.33% size:60% Well, people are texting each other. 19:26.966 --> 19:28.400 align:start position:25% line:84.67% size:50% Reading the program. 19:28.533 --> 19:29.966 align:start position:15% line:79.33% size:70% You know, we provided people with a program 19:30.100 --> 19:31.300 align:start position:20% line:84.67% size:62.5% so people are reading it. 19:31.433 --> 19:33.600 align:start position:15% line:79.33% size:72.5% We probably shouldn't provide people with programs, 19:33.733 --> 19:35.166 align:start position:22.5% line:84.67% size:57.5% because they read them. 19:35.300 --> 19:36.700 align:start position:32.5% line:79.33% size:35% There's always the contributors' list. 19:36.833 --> 19:37.833 align:start position:45% line:84.67% size:10% Wow! 19:37.966 --> 19:40.000 align:start position:27.5% line:79.33% size:47.5% They gave that much to the arts center? 19:40.133 --> 19:41.033 align:start position:40% line:84.67% size:22.5% You know? 19:41.166 --> 19:42.733 align:start position:35% line:84.67% size:30% [ Laughter ] 19:42.866 --> 19:46.766 align:start position:20% line:79.33% size:62.5% But the problem with this is that if we, in fact, 19:46.900 --> 19:48.866 align:start position:20% line:84.67% size:62.5% think about other things, 19:49.000 --> 19:52.500 align:start position:12.5% line:79.33% size:75% we may not notice what's going on in the music. 19:52.633 --> 19:54.766 align:start position:20% line:79.33% size:62.5% And that's kind of a loss for us 19:54.900 --> 19:57.466 align:start position:20% line:79.33% size:60% because so much pleasure is to be had 19:57.600 --> 20:00.033 align:start position:22.5% line:84.67% size:57.5% by noticing the detail. 20:00.166 --> 20:03.433 align:start position:12.5% line:79.33% size:77.5% We believe that the more detail we notice, 20:03.566 --> 20:05.133 align:start position:27.5% line:79.33% size:45% the more enjoyable the experience is. 20:05.266 --> 20:06.300 align:start position:32.5% line:84.67% size:37.5% And by the way, 20:06.433 --> 20:08.066 align:start position:17.5% line:79.33% size:67.5% we don't bring these things to your attention 20:08.200 --> 20:09.600 align:start position:12.5% line:84.67% size:77.5% just so that you can name them. 20:09.733 --> 20:12.033 align:start position:15% line:79.33% size:72.5% In other words, we don't want you to become so expert 20:12.166 --> 20:13.300 align:start position:12.5% line:84.67% size:75% that you can sit there and go, 20:13.433 --> 20:15.400 align:start position:30% line:79.33% size:42.5% "Oh, yeah, here's the first theme, whoa! 20:15.533 --> 20:16.800 align:start position:37.5% line:79.33% size:25% Here comes the closing section." 20:16.933 --> 20:19.733 align:start position:15% line:79.33% size:70% You know, sort of like amaze your friends at parties 20:19.866 --> 20:23.400 align:start position:27.5% line:79.33% size:47.5% with your knowledge of musical techniques. 20:23.533 --> 20:25.866 align:start position:12.5% line:84.67% size:75% These things are to be noticed 20:26.000 --> 20:28.900 align:start position:37.5% line:79.33% size:27.5% and enjoyed as they're happening. 20:29.033 --> 20:30.333 align:start position:32.5% line:84.67% size:35% No more jokes. 20:30.466 --> 20:33.100 align:start position:15% line:84.67% size:70% We promise not to taunt you. 20:33.233 --> 20:35.200 align:start position:17.5% line:79.33% size:67.5% And those of you who may be at home, 20:35.333 --> 20:37.500 align:start position:22.5% line:79.33% size:55% put down that sandwich and listen up! 20:37.633 --> 20:39.033 align:start position:35% line:84.67% size:30% [ Laughter ] 20:40.233 --> 20:41.866 align:start position:32.5% line:79.33% size:37.5% Raise your hand for your material. 20:42.000 --> 20:43.066 align:start position:20% line:84.67% size:60% I'm going to turn around 20:43.200 --> 20:45.333 align:start position:25% line:79.33% size:52.5% to verify that you're in compliance. 20:47.633 --> 20:56.566 align:start position:47.5% line:10% size:5% ♪♪ 20:56.733 --> 21:05.633 align:start position:47.5% line:10% size:5% ♪♪ 21:05.800 --> 21:14.766 align:start position:47.5% line:10% size:5% ♪♪ 21:14.933 --> 21:23.833 align:start position:47.5% line:10% size:5% ♪♪ 21:24.000 --> 21:32.933 align:start position:47.5% line:10% size:5% ♪♪ 21:33.100 --> 21:42.066 align:start position:47.5% line:10% size:5% ♪♪ 21:42.233 --> 21:51.133 align:start position:47.5% line:10% size:5% ♪♪ 21:51.300 --> 22:00.233 align:start position:47.5% line:10% size:5% ♪♪ 22:00.400 --> 22:09.300 align:start position:47.5% line:10% size:5% ♪♪ 22:09.466 --> 22:18.466 align:start position:47.5% line:10% size:5% ♪♪ 22:18.600 --> 22:21.033 align:start position:35% line:79.33% size:30% You all have little blue listening guides. 22:21.166 --> 22:23.600 align:start position:15% line:79.33% size:72.5% Look at number 1, and you see there that it says, 22:23.733 --> 22:27.566 align:start position:12.5% line:79.33% size:75% "the first theme is introduced by two strong unisons." 22:27.700 --> 22:29.033 align:start position:40% line:84.67% size:20% Unisons. 22:29.166 --> 22:33.400 align:start position:15% line:79.33% size:70% Now, a unison is the absence of harmony in music, 22:33.533 --> 22:35.866 align:start position:15% line:84.67% size:72.5% so that we have melody alone. 22:36.000 --> 22:39.000 align:start position:22.5% line:79.33% size:55% Beethoven started with a unison statement. 22:39.133 --> 22:40.300 align:start position:30% line:84.67% size:42.5% You might wonder, 22:40.433 --> 22:43.900 align:start position:12.5% line:79.33% size:75% what would it sound like if he did it with harmony? 22:44.300 --> 22:52.000 align:start position:47.5% line:10% size:5% ♪♪ 22:52.133 --> 22:52.933 align:start position:42.5% line:84.67% size:15% Yecch! 22:53.066 --> 22:55.333 align:start position:35% line:84.67% size:30% [ Laughter ] 22:55.466 --> 22:57.633 align:start position:17.5% line:84.67% size:65% He knew what he was doing. 22:57.766 --> 22:59.766 align:start position:25% line:79.33% size:52.5% He knew that it would be much stronger 22:59.900 --> 23:02.666 align:start position:25% line:79.33% size:52.5% if it was just melody at the beginning. 23:02.800 --> 23:05.600 align:start position:12.5% line:79.33% size:77.5% Listen to what that sounds like again with just melody. 23:06.633 --> 23:13.800 align:start position:47.5% line:10% size:5% ♪♪ 23:14.500 --> 23:16.766 align:start position:12.5% line:79.33% size:77.5% You'll notice in the guide that there are a number of places 23:16.900 --> 23:18.833 align:start position:25% line:79.33% size:50% where there are gaps in the information. 23:18.966 --> 23:21.333 align:start position:17.5% line:79.33% size:65% Hopefully you will fill in those blanks, 23:21.500 --> 23:23.433 align:start position:17.5% line:84.67% size:65% as we go on, by listening. 23:23.566 --> 23:25.400 align:start position:17.5% line:79.33% size:65% But I'd like you to listen at number 2. 23:25.533 --> 23:28.233 align:start position:15% line:79.33% size:72.5% Tell me how many chords there are at the end of number 2 23:28.366 --> 23:29.500 align:start position:12.5% line:84.67% size:75% and which instrument hangs on. 23:29.633 --> 23:31.466 align:start position:20% line:79.33% size:60% If you want to really be honest about this, 23:31.600 --> 23:33.466 align:start position:10% line:84.67% size:80% maybe you would close your eyes. 23:35.266 --> 23:41.800 align:start position:47.5% line:10% size:5% ♪♪ 23:41.966 --> 23:48.533 align:start position:47.5% line:10% size:5% ♪♪ 23:48.700 --> 23:55.300 align:start position:47.5% line:10% size:5% ♪♪ 23:55.433 --> 23:57.700 align:start position:12.5% line:79.33% size:77.5% Well, what's the easy answer -- who hung on? 23:57.833 --> 23:59.866 align:start position:35% line:79.33% size:30% The violins. How many chords were there? 24:00.000 --> 24:02.366 align:start position:42.5% line:79.33% size:17.5% -Three. -Three? 24:02.500 --> 24:04.100 align:start position:12.5% line:84.67% size:77.5% Everybody feel good with three? 24:04.233 --> 24:05.500 align:start position:27.5% line:84.67% size:45% Any other answers? 24:05.633 --> 24:08.233 align:start position:42.5% line:79.33% size:15% -Four. -Four? Alright. 24:08.366 --> 24:10.300 align:start position:22.5% line:79.33% size:55% Whenever that happens, we have to play it again. 24:10.433 --> 24:12.033 align:start position:35% line:84.67% size:30% [ Laughter ] 24:14.233 --> 24:20.600 align:start position:47.5% line:10% size:5% ♪♪ 24:20.766 --> 24:27.133 align:start position:47.5% line:10% size:5% ♪♪ 24:27.300 --> 24:33.733 align:start position:47.5% line:10% size:5% ♪♪ 24:33.866 --> 24:35.466 align:start position:35% line:84.67% size:30% [ Laughter ] 24:35.600 --> 24:38.366 align:start position:17.5% line:79.33% size:62.5% Everybody feel good about three chords, I hope, now? 24:38.500 --> 24:40.233 align:start position:37.5% line:84.67% size:25% Yes. Good. 24:40.366 --> 24:42.533 align:start position:27.5% line:79.33% size:47.5% At number 4 on your listening guide, it talks about 24:42.666 --> 24:44.666 align:start position:27.5% line:84.67% size:47.5% ascending sequence. 24:44.800 --> 24:49.066 align:start position:17.5% line:79.33% size:62.5% Now, sequence is a really exciting concept in music. 24:49.200 --> 24:51.666 align:start position:17.5% line:79.33% size:67.5% It has to do with repeating a musical idea 24:51.800 --> 24:53.766 align:start position:12.5% line:84.67% size:77.5% but at a different pitch level. 24:53.900 --> 24:56.233 align:start position:15% line:79.33% size:72.5% Just so that you know what it would sound like 24:56.366 --> 24:57.433 align:start position:17.5% line:84.67% size:65% if this were a repetition, 24:57.566 --> 24:59.333 align:start position:12.5% line:79.33% size:75% I'm going to ask the orchestra to play the music 24:59.466 --> 25:01.333 align:start position:15% line:84.67% size:72.5% without changing pitch level. 25:02.533 --> 25:05.400 align:start position:47.5% line:10% size:5% ♪♪ 25:07.033 --> 25:08.566 align:start position:25% line:84.67% size:52.5% I mean, it's not bad. 25:08.700 --> 25:10.833 align:start position:17.5% line:79.33% size:65% This time they're going to play it as written. 25:10.966 --> 25:12.400 align:start position:12.5% line:84.67% size:75% I want you to count the number 25:12.533 --> 25:14.833 align:start position:27.5% line:79.33% size:45% of ascending steps in this sequence. 25:17.366 --> 25:22.233 align:start position:47.5% line:10% size:5% ♪♪ 25:22.866 --> 25:24.000 align:start position:42.5% line:79.33% size:17.5% -Seven. -Seven. 25:24.133 --> 25:27.133 align:start position:42.5% line:84.67% size:17.5% -Seven. 25:27.266 --> 25:28.633 align:start position:42.5% line:79.33% size:15% Seven? [ Audience shouting ] 25:28.766 --> 25:30.666 align:start position:27.5% line:84.67% size:45% Seven. Six? Seven? 25:30.800 --> 25:32.200 align:start position:27.5% line:84.67% size:47.5% Do I have some six? 25:32.333 --> 25:34.666 align:start position:12.5% line:79.33% size:75% Alright, I'm going to ask them to leave off the last note. 25:34.800 --> 25:35.900 align:start position:35% line:84.67% size:30% [ Laughter ] 25:38.800 --> 25:43.366 align:start position:47.5% line:10% size:5% ♪♪ 25:43.500 --> 25:45.833 align:start position:35% line:84.67% size:30% [ Laughter ] 25:45.966 --> 25:47.733 align:start position:20% line:79.33% size:60% How many steps are there in this sequence? 25:47.866 --> 25:49.666 align:start position:45% line:79.33% size:12.5% -Six. -Six. There are six. 25:49.800 --> 25:52.833 align:start position:22.5% line:79.33% size:55% Listen to it with just the violins alone, 25:52.966 --> 25:55.233 align:start position:12.5% line:79.33% size:75% so that there's no surrounding harmony or timbre. 25:55.366 --> 25:56.800 align:start position:15% line:84.67% size:70% You can focus on the melody. 25:56.933 --> 25:58.800 align:start position:15% line:79.33% size:72.5% And I'll ask you to leave off the last note, too, 25:58.933 --> 25:59.900 align:start position:27.5% line:84.67% size:45% if you don't mind. 26:00.033 --> 26:02.400 align:start position:35% line:84.67% size:30% [ Laughter ] 26:02.566 --> 26:06.900 align:start position:47.5% line:10% size:5% ♪♪ 26:07.033 --> 26:10.166 align:start position:22.5% line:79.33% size:55% Everyone feel the six? Okay? Yes, alright. 26:10.300 --> 26:11.900 align:start position:20% line:84.67% size:62.5% [ Laughter and applause ] 26:12.033 --> 26:13.833 align:start position:12.5% line:84.67% size:77.5% Alright, now, here's the thing. 26:13.966 --> 26:15.700 align:start position:17.5% line:79.33% size:65% We're going to play it all again for you together. 26:15.833 --> 26:19.000 align:start position:22.5% line:79.33% size:57.5% Notice that we will put that last note on there 26:19.133 --> 26:21.133 align:start position:32.5% line:79.33% size:35% because that's the arrival point. 26:21.266 --> 26:23.566 align:start position:17.5% line:79.33% size:67.5% And that's one of the great things about sequence. 26:23.700 --> 26:27.000 align:start position:17.5% line:79.33% size:67.5% It makes us feel like we're going from here to here. 26:27.133 --> 26:28.833 align:start position:12.5% line:84.67% size:77.5% And no one has left their seat, 26:28.966 --> 26:32.133 align:start position:15% line:79.33% size:70% but it feels like we've gone from here to there, 26:32.266 --> 26:34.300 align:start position:20% line:84.67% size:60% to that note of arrival. 26:36.033 --> 26:40.666 align:start position:47.5% line:10% size:5% ♪♪ 26:42.066 --> 26:43.400 align:start position:37.5% line:79.33% size:27.5% At number 5 in the listening guide, 26:43.533 --> 26:48.033 align:start position:12.5% line:79.33% size:75% I want you to count the number of chords that end this idea. 26:49.100 --> 26:53.833 align:start position:47.5% line:10% size:5% ♪♪ 26:55.633 --> 26:57.600 align:start position:45% line:79.33% size:12.5% -Two. -Two. Yes, two. 26:57.733 --> 26:59.966 align:start position:22.5% line:79.33% size:55% And not only are there two chords there -- 27:00.100 --> 27:02.300 align:start position:22.5% line:79.33% size:55% Which really feel like exclamation points 27:02.433 --> 27:03.733 align:start position:17.5% line:84.67% size:65% at the end of that idea -- 27:03.866 --> 27:06.033 align:start position:17.5% line:79.33% size:67.5% But one of the reasons that they're strong is because 27:06.166 --> 27:11.033 align:start position:15% line:79.33% size:72.5% Beethoven separated them with a tiny little bit of silence. 27:11.166 --> 27:13.633 align:start position:15% line:79.33% size:72.5% He could have gone "bum-bum," but he didn't do that. 27:13.766 --> 27:15.933 align:start position:25% line:84.67% size:50% He went "bum...bum." 27:16.066 --> 27:17.566 align:start position:27.5% line:79.33% size:47.5% And that little bit of silence there 27:17.700 --> 27:19.866 align:start position:35% line:79.33% size:30% is what adds to the strength of the chords. 27:20.000 --> 27:22.066 align:start position:25% line:79.33% size:52.5% I'd like to play this again for you, 27:22.200 --> 27:24.400 align:start position:35% line:79.33% size:30% and, please, would you raise your hands 27:24.533 --> 27:26.500 align:start position:12.5% line:84.67% size:75% during the tiny little silence 27:26.633 --> 27:28.000 align:start position:27.5% line:79.33% size:47.5% that occurs between those chords? 27:28.133 --> 27:29.366 align:start position:15% line:79.33% size:70% Now, you're going to have to be fast 27:29.500 --> 27:30.733 align:start position:15% line:84.67% size:72.5% because it doesn't last long. 27:32.400 --> 27:37.633 align:start position:47.5% line:10% size:5% ♪♪ 27:37.766 --> 27:39.533 align:start position:35% line:84.67% size:30% [ Laughter ] 27:39.666 --> 27:41.266 align:start position:30% line:79.33% size:42.5% You wanted to put an extra silence in there. 27:41.400 --> 27:44.433 align:start position:20% line:79.33% size:60% In fact, he does give us an extra silence after that 27:44.566 --> 27:46.800 align:start position:30% line:79.33% size:42.5% before he goes on to the second theme. 27:46.933 --> 27:50.633 align:start position:12.5% line:79.33% size:77.5% But this time I want to play it again for you and just feel 27:50.766 --> 27:53.433 align:start position:20% line:79.33% size:62.5% the effect of the silence in your entire body 27:53.566 --> 27:57.633 align:start position:12.5% line:79.33% size:75% while we play those two chords with the silence between them. 27:59.300 --> 28:04.966 align:start position:47.5% line:10% size:5% ♪♪ 28:06.500 --> 28:09.766 align:start position:22.5% line:79.33% size:55% We see that this idea, like so many ideas, 28:09.900 --> 28:12.666 align:start position:40% line:79.33% size:22.5% is really an evolutionary process. 28:12.800 --> 28:14.533 align:start position:22.5% line:79.33% size:55% I mean, we just didn't wake up one morning 28:14.666 --> 28:17.166 align:start position:22.5% line:79.33% size:55% and suddenly there was sonata form on the table. 28:17.300 --> 28:20.500 align:start position:20% line:79.33% size:62.5% This idea was the product of many minds. 28:20.633 --> 28:23.466 align:start position:17.5% line:79.33% size:65% Some of the important ones in this process were 28:23.600 --> 28:25.600 align:start position:27.5% line:84.67% size:47.5% Franz Joseph Haydn, 28:25.733 --> 28:28.633 align:start position:20% line:84.67% size:60% Wolfgang Amadeus Mozart. 28:28.766 --> 28:30.366 align:start position:25% line:84.67% size:52.5% How about this one -- 28:30.500 --> 28:32.400 align:start position:32.5% line:84.67% size:35% Johann Vanhal? 28:32.533 --> 28:35.366 align:start position:32.5% line:79.33% size:35% Do we have any Vanhal fans out there? 28:35.500 --> 28:37.366 align:start position:17.5% line:84.67% size:67.5% And my personal favorite -- 28:37.500 --> 28:40.266 align:start position:15% line:84.67% size:72.5% Carl Ditters von Dittersdorf. 28:40.400 --> 28:42.833 align:start position:35% line:84.67% size:30% [ Laughter ] 28:42.966 --> 28:46.466 align:start position:15% line:79.33% size:72.5% Vanhal was a fabulous cellist as well as composer. 28:46.600 --> 28:50.166 align:start position:32.5% line:79.33% size:37.5% And Dittersdorf was a violinist/composer. 28:50.300 --> 28:54.500 align:start position:27.5% line:79.33% size:47.5% Now, Mozart, Haydn, Vanhal and Dittersdorf 28:54.633 --> 28:56.400 align:start position:30% line:84.67% size:42.5% were all friends. 28:56.533 --> 28:58.533 align:start position:37.5% line:79.33% size:27.5% And we have in the historical record 28:58.666 --> 29:00.200 align:start position:12.5% line:84.67% size:75% that at least on one occasion, 29:00.333 --> 29:02.400 align:start position:17.5% line:79.33% size:67.5% they played string quartets together. 29:02.533 --> 29:07.233 align:start position:17.5% line:79.33% size:67.5% We also know that Beethoven studied composition, 29:07.366 --> 29:10.966 align:start position:20% line:79.33% size:62.5% or at least counterpoint, with Haydn for a while. 29:11.100 --> 29:14.000 align:start position:25% line:79.33% size:52.5% So we see that all of these people were involved 29:14.133 --> 29:16.066 align:start position:12.5% line:84.67% size:75% in the evolution of this idea. 29:16.200 --> 29:19.466 align:start position:27.5% line:84.67% size:47.5% And we can see that 29:19.600 --> 29:23.566 align:start position:25% line:79.33% size:52.5% sonata form is really taking its cue 29:23.700 --> 29:26.333 align:start position:20% line:84.67% size:62.5% from an even earlier idea 29:26.466 --> 29:28.433 align:start position:25% line:84.67% size:50% called ternary form, 29:28.566 --> 29:31.400 align:start position:22.5% line:84.67% size:55% which is simply A-B-A. 29:31.533 --> 29:34.666 align:start position:20% line:79.33% size:60% Composers and audiences, listeners, love a-B-A 29:34.800 --> 29:38.166 align:start position:25% line:79.33% size:50% because it has unity and variety in it. 29:38.300 --> 29:40.100 align:start position:20% line:79.33% size:60% The "A" sections provide the unity, 29:40.233 --> 29:42.666 align:start position:22.5% line:79.33% size:55% and the "B" section in the middle provides the variety. 29:42.800 --> 29:46.300 align:start position:22.5% line:79.33% size:55% Now, let's do an A-B-A with the audience here. 29:46.433 --> 29:47.833 align:start position:22.5% line:79.33% size:55% Everybody on the floor in the orchestra 29:47.966 --> 29:49.366 align:start position:27.5% line:84.67% size:47.5% is going to be "A." 29:49.500 --> 29:52.500 align:start position:20% line:79.33% size:62.5% The people in the balcony are going to be "B." 29:52.633 --> 29:54.233 align:start position:20% line:84.67% size:62.5% What's wonderful about it 29:54.366 --> 29:57.166 align:start position:15% line:79.33% size:70% is the fact that it provides unity and variety. 29:57.300 --> 30:00.766 align:start position:22.5% line:79.33% size:57.5% You start in one place, you go someplace different, 30:00.900 --> 30:02.133 align:start position:27.5% line:79.33% size:42.5% and you come back to where you were. 30:02.266 --> 30:04.100 align:start position:17.5% line:79.33% size:67.5% You start at the New Jersey Performing Arts Center, 30:04.233 --> 30:06.866 align:start position:12.5% line:79.33% size:75% you go on a journey somewhere, and you come back 30:07.000 --> 30:08.766 align:start position:30% line:79.33% size:42.5% to the New Jersey Performing Arts Center. 30:08.900 --> 30:11.800 align:start position:15% line:79.33% size:72.5% So, let's have the "A" people practice their part. 30:11.933 --> 30:13.100 align:start position:47.5% line:79.33% size:5% A. -A. 30:13.233 --> 30:15.200 align:start position:22.5% line:79.33% size:55% -Say it again, please, very nicely. 30:15.333 --> 30:16.800 align:start position:47.5% line:84.67% size:7.5% -A. 30:16.933 --> 30:19.833 align:start position:12.5% line:79.33% size:77.5% -Now, the people in the balcony are going to say "B," 30:19.966 --> 30:21.066 align:start position:20% line:84.67% size:60% but I want you to say it 30:21.200 --> 30:24.066 align:start position:17.5% line:79.33% size:65% in the most annoying voice that you can muster. 30:24.200 --> 30:25.433 align:start position:32.5% line:84.67% size:35% Are you ready? 30:25.566 --> 30:27.566 align:start position:47.5% line:84.67% size:7.5% -B! 30:27.700 --> 30:30.833 align:start position:27.5% line:79.33% size:47.5% -Good. Now let's do the whole thing -- A-B-A. 30:30.966 --> 30:31.900 align:start position:35% line:84.67% size:32.5% Are we ready? 30:32.033 --> 30:34.000 align:start position:47.5% line:84.67% size:7.5% -A. 30:34.133 --> 30:35.633 align:start position:47.5% line:84.67% size:7.5% -B! 30:35.766 --> 30:37.100 align:start position:47.5% line:84.67% size:7.5% -A. 30:37.233 --> 30:39.833 align:start position:25% line:79.33% size:52.5% -Doesn't it feel good to come back to "A"? 30:39.966 --> 30:41.333 align:start position:35% line:84.67% size:30% [ Laughter ] 30:41.466 --> 30:43.966 align:start position:15% line:84.67% size:72.5% That's the kernel of the idea 30:44.100 --> 30:46.500 align:start position:35% line:79.33% size:30% that we find in sonata allegro form, 30:46.633 --> 30:50.733 align:start position:15% line:79.33% size:70% except that what we have now is taken those "A" sections 30:50.866 --> 30:52.666 align:start position:17.5% line:84.67% size:65% and greatly expanded them, 30:52.800 --> 30:54.233 align:start position:32.5% line:84.67% size:37.5% to include a... 30:54.366 --> 30:56.133 align:start position:35% line:84.67% size:32.5% -First theme. 30:56.266 --> 30:57.500 align:start position:35% line:84.67% size:30% -Transition. 30:57.633 --> 30:58.833 align:start position:32.5% line:84.67% size:35% -Second theme. 30:58.966 --> 31:00.300 align:start position:20% line:84.67% size:60% -Closing section, right. 31:00.433 --> 31:03.866 align:start position:20% line:79.33% size:60% So, we have all of those in both "A" sections, 31:04.000 --> 31:07.800 align:start position:17.5% line:79.33% size:67.5% in the so-called exposition and the recapitulation. 31:07.933 --> 31:09.433 align:start position:45% line:84.67% size:10% But! 31:09.566 --> 31:13.400 align:start position:17.5% line:79.33% size:65% What is really fascinating about sonata form 31:13.533 --> 31:16.366 align:start position:12.5% line:84.67% size:75% is that it's not really A-B-A. 31:16.500 --> 31:21.933 align:start position:37.5% line:79.33% size:25% What it is is "A", changed "A", "A". 31:22.066 --> 31:23.900 align:start position:15% line:84.67% size:70% Now, what do I mean by that? 31:24.033 --> 31:28.966 align:start position:15% line:79.33% size:72.5% The composer takes ideas that are presented in the exposition 31:29.100 --> 31:32.233 align:start position:32.5% line:79.33% size:37.5% and alters them in the development, 31:32.366 --> 31:36.533 align:start position:20% line:79.33% size:62.5% in such a way that people who are paying attention -- 31:36.666 --> 31:38.433 align:start position:20% line:79.33% size:60% again, this is only good for people 31:38.566 --> 31:42.466 align:start position:12.5% line:79.33% size:77.5% who are not reading the program notes while this is going on. 31:42.600 --> 31:46.233 align:start position:12.5% line:79.33% size:75% People who have paid attention during the exposition 31:46.366 --> 31:50.000 align:start position:10% line:79.33% size:80% notice the changes that are made to the ideas there 31:50.133 --> 31:51.366 align:start position:27.5% line:84.67% size:47.5% in the development. 31:51.500 --> 31:55.866 align:start position:10% line:79.33% size:80% It has another emotional impact, to have changed an idea. 31:56.000 --> 31:59.266 align:start position:27.5% line:79.33% size:45% It creates tension in the listeners, 31:59.400 --> 32:03.966 align:start position:17.5% line:79.33% size:67.5% which has to be released by getting to the recapitulation. 32:04.100 --> 32:06.800 align:start position:22.5% line:79.33% size:57.5% Let's listen to some of the strange things 32:06.933 --> 32:08.166 align:start position:27.5% line:84.67% size:47.5% that Beethoven does 32:08.300 --> 32:10.666 align:start position:30% line:79.33% size:40% at the beginning of the development. 32:10.800 --> 32:13.633 align:start position:15% line:79.33% size:70% The very first thing he does is to take 32:13.766 --> 32:17.933 align:start position:17.5% line:79.33% size:65% a rather abrupt left turn, harmonically. 32:18.066 --> 32:21.600 align:start position:20% line:79.33% size:60% In your listening guide, this occurs at number 9. 32:21.733 --> 32:25.833 align:start position:22.5% line:79.33% size:57.5% There's a strange twist in first theme, 32:25.966 --> 32:28.600 align:start position:30% line:79.33% size:37.5% which announces the development. 32:28.733 --> 32:30.066 align:start position:17.5% line:84.67% size:65% Let's pretend for a moment 32:30.200 --> 32:32.466 align:start position:22.5% line:79.33% size:55% that we weren't taking this strange twist. 32:32.600 --> 32:34.566 align:start position:17.5% line:79.33% size:65% Let's pretend that the car was going 32:34.700 --> 32:36.833 align:start position:30% line:79.33% size:40% in the direction that we hoped it would 32:36.966 --> 32:38.566 align:start position:15% line:84.67% size:72.5% or anticipated that it would. 32:38.700 --> 32:41.333 align:start position:25% line:79.33% size:50% Let's listen to what that would sound like. 32:42.400 --> 32:46.300 align:start position:47.5% line:10% size:5% ♪♪ 32:48.400 --> 32:50.133 align:start position:12.5% line:84.67% size:75% Sounds reasonable, doesn't it? 32:50.266 --> 32:52.733 align:start position:17.5% line:84.67% size:65% But listen to what he did. 32:53.166 --> 32:57.666 align:start position:47.5% line:10% size:5% ♪♪ 32:58.566 --> 33:00.666 align:start position:15% line:10% size:70% Do you sense that left turn? 33:00.800 --> 33:04.433 align:start position:27.5% line:79.33% size:47.5% Everything in music is contextual. 33:04.566 --> 33:06.700 align:start position:12.5% line:79.33% size:77.5% In other words, the reason that we can enjoy 33:06.833 --> 33:08.033 align:start position:30% line:79.33% size:40% what's happening in a piece of music 33:08.166 --> 33:10.366 align:start position:17.5% line:79.33% size:67.5% is because we remember what happened before, 33:10.500 --> 33:12.966 align:start position:12.5% line:79.33% size:75% which is why it's so important to pay attention 33:13.100 --> 33:14.600 align:start position:27.5% line:84.67% size:47.5% from the beginning. 33:14.733 --> 33:17.433 align:start position:17.5% line:79.33% size:65% At number 10, it says that the music is like the beginning, 33:17.566 --> 33:20.100 align:start position:17.5% line:84.67% size:67.5% but he keeps changing keys. 33:20.233 --> 33:23.000 align:start position:15% line:79.33% size:72.5% Now, what this does is create an unsettling feeling. 33:23.133 --> 33:25.333 align:start position:22.5% line:79.33% size:57.5% It's like we don't know where we're going 33:25.466 --> 33:29.866 align:start position:17.5% line:79.33% size:65% because he's not remaining in one key. 33:30.000 --> 33:33.633 align:start position:25% line:79.33% size:52.5% You might also notice that there are crescendos. 33:33.766 --> 33:35.200 align:start position:25% line:79.33% size:50% Just so that we know what a crescendo is, 33:35.333 --> 33:36.600 align:start position:30% line:79.33% size:40% would you please do this with me? 33:36.733 --> 33:38.233 align:start position:27.5% line:79.33% size:45% Repeat after me -- we're going to go... 33:38.366 --> 33:39.800 align:start position:40% line:84.67% size:20% Aaaaaah! 33:39.933 --> 33:40.766 align:start position:32.5% line:84.67% size:37.5% Please do that. 33:40.900 --> 33:42.433 align:start position:40% line:84.67% size:22.5% -Aaaaaah! 33:42.566 --> 33:44.966 align:start position:22.5% line:79.33% size:55% -It's a getting louder gradually. 33:45.100 --> 33:46.933 align:start position:32.5% line:79.33% size:35% It's fun to do when you're playing, 33:47.066 --> 33:49.233 align:start position:17.5% line:79.33% size:67.5% and it's fun to perceive it as a listener. 33:49.366 --> 33:51.300 align:start position:10% line:79.33% size:80% Now, something else that he does which is really interesting 33:51.433 --> 33:55.100 align:start position:12.5% line:79.33% size:77.5% in this section is that he gets suddenly soft at the end. 33:55.233 --> 33:56.400 align:start position:27.5% line:79.33% size:45% So they have to be really careful. 33:56.533 --> 33:58.766 align:start position:30% line:79.33% size:40% They can't go... "Aaaaaah! Bang!" 33:58.900 --> 34:01.700 align:start position:27.5% line:79.33% size:45% They have to go... "Aaaaaah! Ooooh!" 34:01.833 --> 34:03.100 align:start position:35% line:84.67% size:30% [ Laughter ] 34:03.233 --> 34:05.333 align:start position:30% line:79.33% size:42.5% It's very hard -- they have to suddenly 34:05.466 --> 34:07.800 align:start position:25% line:79.33% size:50% pull themselves back and be quiet again. 34:07.933 --> 34:10.766 align:start position:25% line:79.33% size:52.5% Alright, let's listen to the changing of keys -- 34:10.900 --> 34:12.500 align:start position:32.5% line:79.33% size:35% again, this is in the development -- 34:12.633 --> 34:17.066 align:start position:15% line:79.33% size:70% and also these crescendos or rumblings out of the strings. 34:18.500 --> 34:27.933 align:start position:47.5% line:10% size:5% ♪♪ 34:28.100 --> 34:37.600 align:start position:47.5% line:10% size:5% ♪♪ 34:37.766 --> 34:47.233 align:start position:47.5% line:10% size:5% ♪♪ 34:47.366 --> 34:50.633 align:start position:17.5% line:79.33% size:67.5% Sorry to leave you dangling over that musical cliff. 34:50.766 --> 34:53.066 align:start position:35% line:84.67% size:30% [ Laughter ] 34:53.200 --> 34:56.366 align:start position:27.5% line:79.33% size:45% In the exposition, the second theme -- 34:56.500 --> 34:58.766 align:start position:35% line:79.33% size:32.5% your theme -- has this beautiful question 34:58.900 --> 34:59.800 align:start position:27.5% line:84.67% size:47.5% with three answers. 34:59.933 --> 35:01.433 align:start position:17.5% line:84.67% size:67.5% Let's refresh our memories. 35:02.566 --> 35:08.033 align:start position:47.5% line:10% size:5% ♪♪ 35:08.200 --> 35:13.733 align:start position:47.5% line:10% size:5% ♪♪ 35:13.866 --> 35:15.066 align:start position:30% line:79.33% size:40% We can see that, at this moment, 35:15.200 --> 35:18.000 align:start position:15% line:79.33% size:72.5% Beethoven is really in a very sort of sublime mood. 35:18.133 --> 35:21.533 align:start position:12.5% line:79.33% size:75% You know, we don't have any of this angst of the beginning. 35:21.666 --> 35:25.933 align:start position:22.5% line:79.33% size:57.5% But listen to this pair of questions and answers 35:26.066 --> 35:27.233 align:start position:27.5% line:84.67% size:47.5% in the development. 35:28.133 --> 35:33.800 align:start position:47.5% line:10% size:5% ♪♪ 35:33.966 --> 35:39.700 align:start position:47.5% line:10% size:5% ♪♪ 35:39.833 --> 35:42.333 align:start position:27.5% line:84.67% size:47.5% This is wild stuff. 35:42.466 --> 35:44.266 align:start position:17.5% line:84.67% size:67.5% The answers are so violent, 35:44.400 --> 35:46.700 align:start position:12.5% line:79.33% size:77.5% and one of the reasons they are is because Beethoven 35:46.833 --> 35:49.166 align:start position:15% line:84.67% size:70% is indulging in syncopation. 35:49.300 --> 35:50.600 align:start position:25% line:84.67% size:50% What is syncopation? 35:50.733 --> 35:52.800 align:start position:15% line:79.33% size:70% It's when there is an accent in the music 35:52.933 --> 35:54.733 align:start position:17.5% line:84.67% size:65% where we do not expect it. 35:54.866 --> 35:57.400 align:start position:15% line:79.33% size:72.5% Or, sometimes, where there is no accent 35:57.533 --> 35:58.966 align:start position:15% line:84.67% size:70% where we were expecting one. 35:59.100 --> 36:02.200 align:start position:30% line:79.33% size:42.5% But in this case, it's an unexpected accent. 36:02.333 --> 36:05.800 align:start position:17.5% line:79.33% size:65% Normally, the stress is on the downbeat, or the first beat, 36:05.933 --> 36:09.333 align:start position:12.5% line:79.33% size:77.5% so we say, "one, two, one, two, one, two, one, two." 36:09.466 --> 36:10.900 align:start position:30% line:84.67% size:42.5% Say that with me. 36:11.033 --> 36:13.500 align:start position:25% line:79.33% size:52.5% -One, two, one, two, one, two, one, two. 36:13.633 --> 36:15.933 align:start position:12.5% line:79.33% size:77.5% -Okay, now let's put the accent on two, ready? 36:16.066 --> 36:18.933 align:start position:27.5% line:79.33% size:47.5% One, two, one, two,  one, two, one, two. 36:19.066 --> 36:22.066 align:start position:22.5% line:79.33% size:57.5% You see, that's already creating a disturbance. 36:22.200 --> 36:23.833 align:start position:17.5% line:79.33% size:65% You start your ones again, ready? 36:23.966 --> 36:27.133 align:start position:35% line:74% size:30% -One, two... -And I'm going to do this rhythm. 36:27.266 --> 36:29.966 align:start position:22.5% line:79.33% size:55% -One, two, one, two... -♪ Da-da-da, da-da ♪ 36:30.100 --> 36:32.200 align:start position:20% line:84.67% size:60% ♪ Dah! Da-da-da, da-da ♪ 36:32.333 --> 36:34.600 align:start position:22.5% line:79.33% size:55% -One, two, one, two... -♪ Da-da-da, da-da ♪ 36:34.733 --> 36:36.733 align:start position:25% line:84.67% size:50% ♪ Dah! Da-da-da-da ♪ 36:36.866 --> 36:39.833 align:start position:22.5% line:79.33% size:55% Do you feel the answer coming in on "two"? 36:39.966 --> 36:41.666 align:start position:32.5% line:79.33% size:35% Alright, let's side-by-side it again 36:41.800 --> 36:45.000 align:start position:15% line:79.33% size:72.5% with the very pleasant sounds of the exposition. 36:45.133 --> 36:48.366 align:start position:12.5% line:79.33% size:75% Then we'll go to this grittier one in the development. 36:49.600 --> 36:55.100 align:start position:47.5% line:10% size:5% ♪♪ 36:55.266 --> 37:00.800 align:start position:47.5% line:10% size:5% ♪♪ 37:00.933 --> 37:02.433 align:start position:17.5% line:84.67% size:67.5% And now in the development. 37:02.600 --> 37:08.233 align:start position:47.5% line:10% size:5% ♪♪ 37:08.400 --> 37:14.033 align:start position:47.5% line:10% size:5% ♪♪ 37:14.166 --> 37:15.966 align:start position:25% line:84.67% size:52.5% That's intense stuff. 37:16.100 --> 37:17.700 align:start position:20% line:84.67% size:60% You know, I always worry 37:17.833 --> 37:21.200 align:start position:22.5% line:79.33% size:55% when people say to me, "I love classical music, 37:21.333 --> 37:22.733 align:start position:27.5% line:84.67% size:45% it's so relaxing." 37:22.866 --> 37:24.033 align:start position:35% line:84.67% size:30% [ Laughter ] 37:24.166 --> 37:26.133 align:start position:30% line:84.67% size:42.5% Not this passage. 37:26.266 --> 37:29.000 align:start position:22.5% line:79.33% size:57.5% This tension is created in our development, 37:29.133 --> 37:31.966 align:start position:22.5% line:79.33% size:55% which must be released by the recapitulation. 37:32.100 --> 37:36.233 align:start position:17.5% line:79.33% size:65% So now I want you to prove to me that you know 37:36.366 --> 37:38.866 align:start position:37.5% line:79.33% size:27.5% when we get to the recapitulation. 37:39.000 --> 37:40.700 align:start position:25% line:79.33% size:50% We're going to start in the development, 37:40.833 --> 37:42.933 align:start position:27.5% line:79.33% size:47.5% a little bit before where we just were, 37:43.066 --> 37:46.533 align:start position:32.5% line:79.33% size:37.5% and when we get to the recapitulation, 37:46.666 --> 37:48.533 align:start position:22.5% line:79.33% size:55% when it's exactly like the beginning, 37:48.666 --> 37:50.566 align:start position:32.5% line:84.67% size:37.5% everyone stand. 37:50.700 --> 37:53.566 align:start position:42.5% line:79.33% size:15% But... I'm warning you right now, 37:53.700 --> 37:55.633 align:start position:17.5% line:84.67% size:67.5% Beethoven has false starts. 37:55.766 --> 37:57.166 align:start position:35% line:84.67% size:30% [ Laughter ] 37:57.300 --> 37:58.633 align:start position:22.5% line:84.67% size:57.5% He's going to tease us. 37:58.766 --> 38:01.633 align:start position:12.5% line:79.33% size:77.5% He's going to pretend that he's about to recapitulate. 38:01.766 --> 38:03.700 align:start position:22.5% line:84.67% size:57.5% A false recapitulation. 38:06.433 --> 38:15.300 align:start position:47.5% line:10% size:5% ♪♪ 38:15.466 --> 38:24.400 align:start position:47.5% line:10% size:5% ♪♪ 38:24.566 --> 38:33.433 align:start position:47.5% line:10% size:5% ♪♪ 38:33.600 --> 38:42.500 align:start position:47.5% line:10% size:5% ♪♪ 38:42.666 --> 38:51.533 align:start position:47.5% line:10% size:5% ♪♪ 38:51.700 --> 39:00.633 align:start position:47.5% line:10% size:5% ♪♪ 39:00.800 --> 39:09.700 align:start position:47.5% line:10% size:5% ♪♪ 39:09.833 --> 39:11.833 align:start position:40% line:84.67% size:22.5% Yes! Yes! 39:11.966 --> 39:13.733 align:start position:25% line:84.67% size:52.5% Thank you, thank you. 39:15.966 --> 39:19.000 align:start position:22.5% line:79.33% size:57.5% Was it exactly the same as the exposition? 39:19.133 --> 39:20.200 align:start position:32.5% line:84.67% size:35% No, it wasn't. 39:20.333 --> 39:21.633 align:start position:20% line:84.67% size:62.5% And how was it different? 39:21.766 --> 39:23.033 align:start position:37.5% line:84.67% size:27.5% Do we know? 39:23.166 --> 39:25.733 align:start position:35% line:79.33% size:30% -The chords. -Chords. Right. 39:25.866 --> 39:27.166 align:start position:32.5% line:84.67% size:37.5% We had harmony. 39:27.300 --> 39:28.933 align:start position:17.5% line:84.67% size:65% It wasn't just the unison. 39:29.100 --> 39:31.100 align:start position:12.5% line:84.67% size:77.5% And, the first time we only had 39:31.233 --> 39:33.266 align:start position:25% line:79.33% size:50% the violins, violas, cellos, and basses, 39:33.400 --> 39:35.000 align:start position:22.5% line:84.67% size:55% and clarinets playing. 39:35.133 --> 39:38.100 align:start position:22.5% line:84.67% size:55% This time we had what? 39:38.233 --> 39:40.600 align:start position:37.5% line:79.33% size:25% Everybody. Everybody was playing. 39:40.733 --> 39:45.366 align:start position:10% line:79.33% size:77.5% And they're playing things that really are very stark harmonies. 39:45.500 --> 39:47.666 align:start position:12.5% line:79.33% size:75% Listen to it again, the way it sounds at the very beginning, 39:47.800 --> 39:49.200 align:start position:27.5% line:84.67% size:45% in the exposition. 39:49.800 --> 39:55.800 align:start position:47.5% line:10% size:5% ♪♪ 39:55.933 --> 40:00.066 align:start position:27.5% line:79.33% size:47.5% Now listen to it in the recapitulated version. 40:00.233 --> 40:07.433 align:start position:47.5% line:10% size:5% ♪♪ 40:07.566 --> 40:10.266 align:start position:20% line:79.33% size:60% Listen to just the winds and the brass, slowly. 40:11.533 --> 40:20.900 align:start position:47.5% line:10% size:5% ♪♪ 40:21.033 --> 40:24.366 align:start position:12.5% line:79.33% size:75% Yeah, see, it's, I don't know, more ominous, more something. 40:24.500 --> 40:27.166 align:start position:27.5% line:79.33% size:47.5% But it is a genuine recapitulation. 40:27.300 --> 40:29.333 align:start position:27.5% line:79.33% size:45% We feel like we've come back, finally, 40:29.466 --> 40:31.333 align:start position:25% line:84.67% size:50% to where we started. 40:31.466 --> 40:34.900 align:start position:20% line:84.67% size:60% Beethoven, of necessity, 40:35.033 --> 40:37.766 align:start position:17.5% line:84.67% size:67.5% we'll say, had the bassoons 40:37.900 --> 40:40.466 align:start position:20% line:79.33% size:62.5% announce the second theme in the recapitulation. 40:40.600 --> 40:41.533 align:start position:15% line:84.67% size:72.5% Now, who did it in the first? 40:41.666 --> 40:42.666 align:start position:22.5% line:84.67% size:55% Does anybody remember? 40:42.800 --> 40:45.600 align:start position:27.5% line:79.33% size:47.5% The horns played it the first time. 40:45.733 --> 40:48.066 align:start position:15% line:79.33% size:70% Horns, why don't you play it for us the way it happens? 40:48.200 --> 40:50.666 align:start position:10% line:79.33% size:80% This is the way the second theme gets started. 40:50.833 --> 40:54.966 align:start position:47.5% line:10% size:5% ♪♪ 40:55.100 --> 40:59.666 align:start position:12.5% line:79.33% size:75% In Beethoven's time, horns did not have these valve mechanisms 40:59.800 --> 41:03.066 align:start position:15% line:79.33% size:72.5% with key pads that allow them to play easily 41:03.200 --> 41:06.933 align:start position:20% line:79.33% size:62.5% in lots of different keys in a short space of time. 41:07.066 --> 41:09.400 align:start position:25% line:79.33% size:50% You had to have like a little Santa Claus sack 41:09.533 --> 41:11.366 align:start position:22.5% line:79.33% size:55% of tubes when you came to your seat, 41:11.500 --> 41:14.066 align:start position:10% line:79.33% size:80% and you have to put in the tubes that will allow you 41:14.200 --> 41:16.266 align:start position:20% line:84.67% size:60% to play in certain keys. 41:16.400 --> 41:17.966 align:start position:20% line:84.67% size:62.5% Now, all this takes time. 41:18.100 --> 41:20.533 align:start position:17.5% line:79.33% size:67.5% And, of course, in order to take them out 41:20.666 --> 41:21.866 align:start position:20% line:84.67% size:62.5% and put in the next ones, 41:22.000 --> 41:23.300 align:start position:20% line:84.67% size:62.5% by the time that happens, 41:23.433 --> 41:25.166 align:start position:25% line:79.33% size:50% the horns might miss the entrance. 41:25.300 --> 41:27.333 align:start position:32.5% line:79.33% size:37.5% Instead, he had the bassoons play it 41:27.466 --> 41:29.166 align:start position:30% line:79.33% size:40% because it's now in a different key, 41:29.300 --> 41:30.633 align:start position:20% line:84.67% size:60% and it sounds like this. 41:30.800 --> 41:35.033 align:start position:47.5% line:10% size:5% ♪♪ 41:35.166 --> 41:39.266 align:start position:10% line:79.33% size:80% Some conductors actually rewrite the music at this point. 41:39.400 --> 41:42.566 align:start position:12.5% line:79.33% size:75% There's a school of conducting that says, 41:42.700 --> 41:44.833 align:start position:22.5% line:79.33% size:57.5% "Well, if Beethoven had the valve horns, 41:44.966 --> 41:46.400 align:start position:20% line:79.33% size:60% he surely would have had the horns play it." 41:46.533 --> 41:50.200 align:start position:12.5% line:79.33% size:77.5% Then there are other conductors who are sort of text lovers, 41:50.333 --> 41:52.466 align:start position:35% line:79.33% size:32.5% and they say, "You cannot touch this. 41:52.600 --> 41:54.700 align:start position:25% line:79.33% size:50% Obviously, he wanted the timbre of the bassoons." 41:54.833 --> 41:56.733 align:start position:25% line:79.33% size:52.5% Now, we thought about making this like 41:56.866 --> 41:59.166 align:start position:15% line:79.33% size:72.5% one of those popular TV shows that's on right now 41:59.300 --> 42:02.433 align:start position:15% line:79.33% size:70% and have the audience decide which way we would do it, 42:02.566 --> 42:06.033 align:start position:15% line:79.33% size:70% but we thought better of it, and we're just going to play it 42:06.166 --> 42:10.166 align:start position:17.5% line:79.33% size:67.5% the way Beethoven wrote it, again, for you this evening. 42:10.300 --> 42:13.766 align:start position:22.5% line:79.33% size:57.5% Beethoven, as you know, had a very difficult life, 42:13.900 --> 42:17.733 align:start position:25% line:79.33% size:50% mostly as the result of his disability. 42:17.866 --> 42:19.966 align:start position:25% line:79.33% size:50% To lose his hearing, you know, 42:20.100 --> 42:23.000 align:start position:17.5% line:79.33% size:67.5% was like the worst possible thing to happen. 42:23.133 --> 42:27.100 align:start position:17.5% line:79.33% size:67.5% So he had pain in his life, which we can all identify with, 42:27.233 --> 42:29.366 align:start position:15% line:79.33% size:70% and he was perfectly willing to share it with us. 42:29.500 --> 42:30.600 align:start position:25% line:84.67% size:50% I want you to listen 42:30.733 --> 42:33.833 align:start position:25% line:79.33% size:50% to some of this pain from his Third Symphony. 42:33.966 --> 42:36.666 align:start position:12.5% line:79.33% size:75% Now, again, what is miraculous about this music is, 42:36.800 --> 42:40.333 align:start position:15% line:79.33% size:70% it mirrors our own emotional inner lives. 42:40.466 --> 42:43.800 align:start position:10% line:79.33% size:80% Think about the fact, you can go from feeling elated, 42:43.933 --> 42:46.100 align:start position:15% line:84.67% size:70% to depressed, to frightened, 42:46.233 --> 42:50.366 align:start position:27.5% line:84.67% size:47.5% to brave, to silly, 42:50.500 --> 42:53.000 align:start position:30% line:84.67% size:40% in a nanosecond. 42:53.133 --> 42:55.666 align:start position:22.5% line:79.33% size:55% You can experience all those different feelings. 42:55.800 --> 42:57.533 align:start position:25% line:79.33% size:52.5% And that's what is so fascinating 42:57.666 --> 42:58.700 align:start position:20% line:84.67% size:60% about these compositions 42:58.833 --> 43:02.800 align:start position:20% line:79.33% size:60% because they also change feeling state on a dime. 43:02.933 --> 43:04.833 align:start position:22.5% line:79.33% size:55% Listen to this passage from the Third Symphony 43:04.966 --> 43:09.766 align:start position:12.5% line:79.33% size:77.5% in which Beethoven changes from feeling relatively lighthearted 43:09.900 --> 43:12.766 align:start position:25% line:84.67% size:50% to intensely pained. 43:14.900 --> 43:24.300 align:start position:47.5% line:10% size:5% ♪♪ 43:24.466 --> 43:33.866 align:start position:47.5% line:10% size:5% ♪♪ 43:34.033 --> 43:43.400 align:start position:47.5% line:10% size:5% ♪♪ 43:43.566 --> 43:52.966 align:start position:47.5% line:10% size:5% ♪♪ 43:53.133 --> 44:02.666 align:start position:47.5% line:10% size:5% ♪♪ 44:03.433 --> 44:06.366 align:start position:35% line:79.33% size:32.5% That is pain. That is pain. 44:06.500 --> 44:09.866 align:start position:17.5% line:79.33% size:67.5% Now, in the Fifth Symphony, at the coda, 44:10.000 --> 44:14.133 align:start position:12.5% line:79.33% size:77.5% I want you to look at number 21 and 22 in your listening guide. 44:14.266 --> 44:15.833 align:start position:27.5% line:84.67% size:47.5% Codas are optional. 44:15.966 --> 44:17.900 align:start position:22.5% line:79.33% size:55% You don't have to have a special ending 44:18.033 --> 44:21.733 align:start position:15% line:79.33% size:72.5% in one of these constructions because you already have a... 44:21.866 --> 44:24.066 align:start position:20% line:84.67% size:60% First theme, transition, 44:24.200 --> 44:25.966 align:start position:35% line:79.33% size:32.5% second theme, and a closing section, 44:26.100 --> 44:28.500 align:start position:25% line:79.33% size:50% and you can close it at the closing section. 44:28.633 --> 44:29.900 align:start position:20% line:84.67% size:60% If it seems appropriate, 44:30.033 --> 44:32.833 align:start position:20% line:79.33% size:60% you can just end it, but Beethoven liked to write codas 44:32.966 --> 44:36.033 align:start position:20% line:79.33% size:60% in many of his movements of this sort. 44:36.166 --> 44:40.000 align:start position:22.5% line:79.33% size:55% And this one is short, but it packs a powerful punch. 44:40.133 --> 44:43.100 align:start position:15% line:79.33% size:70% At number 22, it talks about there being dissonance. 44:43.233 --> 44:45.900 align:start position:15% line:79.33% size:70% Now, this is not the kind of soul agony 44:46.033 --> 44:47.966 align:start position:30% line:79.33% size:40% that we just had in the Eroica symphony. 44:48.100 --> 44:52.333 align:start position:30% line:79.33% size:42.5% This is more like seething anger. 44:52.466 --> 44:55.900 align:start position:22.5% line:79.33% size:57.5% I want you to listen to the dissonances slowly, 44:56.033 --> 44:59.533 align:start position:17.5% line:79.33% size:67.5% so that you can digest them before we play them in tempo. 45:01.066 --> 45:08.233 align:start position:47.5% line:10% size:5% ♪♪ 45:08.400 --> 45:15.566 align:start position:47.5% line:10% size:5% ♪♪ 45:15.700 --> 45:17.300 align:start position:15% line:84.67% size:70% Now listen to them in tempo. 45:17.433 --> 45:19.900 align:start position:22.5% line:79.33% size:57.5% They go by much faster, and you might miss them 45:20.033 --> 45:21.466 align:start position:15% line:84.67% size:72.5% if you weren't attuned to it, 45:21.600 --> 45:24.466 align:start position:10% line:79.33% size:80% but we have these little painful dissonances in here. 45:25.433 --> 45:31.433 align:start position:47.5% line:10% size:5% ♪♪ 45:32.766 --> 45:36.033 align:start position:17.5% line:79.33% size:67.5% You know, we wonder, why is Beethoven's music so compelling? 45:36.200 --> 45:40.400 align:start position:12.5% line:79.33% size:77.5% Why is it among the favorite of the classical music repertoire? 45:40.533 --> 45:41.500 align:start position:20% line:84.67% size:60% And I think it's because 45:41.633 --> 45:44.366 align:start position:25% line:79.33% size:50% Beethoven just never would give up, 45:44.500 --> 45:46.500 align:start position:15% line:84.67% size:72.5% no matter how bad things got. 45:46.633 --> 45:48.366 align:start position:12.5% line:84.67% size:75% And we find this in his music. 45:48.500 --> 45:50.500 align:start position:12.5% line:84.67% size:75% He wrote in a letter, in 1802, 45:50.633 --> 45:53.666 align:start position:17.5% line:79.33% size:67.5% which was already six years into his deafness, 45:53.800 --> 45:56.800 align:start position:12.5% line:79.33% size:75% "Sometimes, I have been driven by my desire 45:56.933 --> 45:59.666 align:start position:22.5% line:79.33% size:55% to seek the company of other human beings, 45:59.800 --> 46:04.166 align:start position:17.5% line:79.33% size:62.5% but what humiliation when someone standing beside me 46:04.300 --> 46:10.400 align:start position:22.5% line:79.33% size:55% heard a flute afar off and I heard nothing. 46:10.533 --> 46:14.366 align:start position:10% line:79.33% size:80% Such experiences have brought me close to despair, 46:14.500 --> 46:16.933 align:start position:32.5% line:79.33% size:37.5% and I came near to ending my own life. 46:17.066 --> 46:19.900 align:start position:20% line:84.67% size:62.5% Only my art held me back, 46:20.033 --> 46:22.366 align:start position:22.5% line:79.33% size:57.5% as it seemed impossible to leave this world 46:22.500 --> 46:25.033 align:start position:25% line:79.33% size:50% until I had produced everything I feel 46:25.166 --> 46:27.966 align:start position:27.5% line:79.33% size:47.5% it has been granted for me to achieve." 46:30.700 --> 46:32.100 align:start position:25% line:79.33% size:52.5% If you want to follow your listening guide, 46:32.233 --> 46:34.566 align:start position:27.5% line:79.33% size:47.5% you can, as we play the first movement again. 46:34.700 --> 46:37.100 align:start position:15% line:84.67% size:70% If not, you can just listen. 46:37.233 --> 46:39.833 align:start position:17.5% line:84.67% size:67.5% And now, the first movement 46:39.966 --> 46:42.833 align:start position:15% line:79.33% size:72.5% of Beethoven's Fifth Symphony again for you. 46:45.200 --> 46:54.633 align:start position:47.5% line:10% size:5% ♪♪ 46:54.800 --> 47:04.233 align:start position:47.5% line:10% size:5% ♪♪ 47:04.400 --> 47:13.866 align:start position:47.5% line:10% size:5% ♪♪ 47:14.033 --> 47:23.500 align:start position:47.5% line:10% size:5% ♪♪ 47:23.666 --> 47:33.100 align:start position:47.5% line:10% size:5% ♪♪ 47:33.266 --> 47:42.700 align:start position:47.5% line:10% size:5% ♪♪ 47:42.866 --> 47:52.333 align:start position:47.5% line:10% size:5% ♪♪ 47:52.500 --> 48:01.933 align:start position:47.5% line:10% size:5% ♪♪ 48:02.100 --> 48:11.566 align:start position:47.5% line:10% size:5% ♪♪ 48:11.733 --> 48:21.166 align:start position:47.5% line:10% size:5% ♪♪ 48:21.333 --> 48:30.800 align:start position:47.5% line:10% size:5% ♪♪ 48:30.966 --> 48:40.400 align:start position:47.5% line:10% size:5% ♪♪ 48:40.566 --> 48:50.000 align:start position:47.5% line:10% size:5% ♪♪ 48:50.166 --> 48:59.633 align:start position:47.5% line:10% size:5% ♪♪ 48:59.800 --> 49:09.266 align:start position:47.5% line:10% size:5% ♪♪ 49:09.433 --> 49:18.866 align:start position:47.5% line:10% size:5% ♪♪ 49:19.033 --> 49:28.466 align:start position:47.5% line:10% size:5% ♪♪ 49:28.633 --> 49:38.100 align:start position:47.5% line:10% size:5% ♪♪ 49:38.266 --> 49:47.700 align:start position:47.5% line:10% size:5% ♪♪ 49:47.866 --> 49:57.300 align:start position:47.5% line:10% size:5% ♪♪ 49:57.466 --> 50:06.966 align:start position:47.5% line:10% size:5% ♪♪ 50:07.133 --> 50:16.566 align:start position:47.5% line:10% size:5% ♪♪ 50:16.733 --> 50:26.166 align:start position:47.5% line:10% size:5% ♪♪ 50:26.333 --> 50:35.766 align:start position:47.5% line:10% size:5% ♪♪ 50:35.933 --> 50:45.400 align:start position:47.5% line:10% size:5% ♪♪ 50:45.566 --> 50:55.000 align:start position:47.5% line:10% size:5% ♪♪ 50:55.166 --> 51:04.633 align:start position:47.5% line:10% size:5% ♪♪ 51:04.800 --> 51:14.266 align:start position:47.5% line:10% size:5% ♪♪ 51:14.433 --> 51:23.866 align:start position:47.5% line:10% size:5% ♪♪ 51:24.033 --> 51:33.466 align:start position:47.5% line:10% size:5% ♪♪ 51:33.633 --> 51:43.066 align:start position:47.5% line:10% size:5% ♪♪ 51:43.266 --> 51:52.700 align:start position:47.5% line:10% size:5% ♪♪ 51:52.866 --> 52:02.333 align:start position:47.5% line:10% size:5% ♪♪ 52:02.500 --> 52:11.933 align:start position:47.5% line:10% size:5% ♪♪ 52:12.100 --> 52:21.566 align:start position:47.5% line:10% size:5% ♪♪ 52:21.733 --> 52:31.166 align:start position:47.5% line:10% size:5% ♪♪ 52:31.333 --> 52:40.766 align:start position:47.5% line:10% size:5% ♪♪ 52:40.933 --> 52:50.400 align:start position:47.5% line:10% size:5% ♪♪ 52:50.566 --> 53:00.033 align:start position:47.5% line:10% size:5% ♪♪ 53:00.200 --> 53:09.633 align:start position:47.5% line:10% size:5% ♪♪ 53:09.800 --> 53:19.233 align:start position:47.5% line:10% size:5% ♪♪ 53:19.400 --> 53:28.866 align:start position:47.5% line:10% size:5% ♪♪ 53:29.033 --> 53:38.466 align:start position:47.5% line:10% size:5% ♪♪ 53:38.633 --> 53:48.066 align:start position:47.5% line:10% size:5% ♪♪ 53:48.233 --> 53:57.733 align:start position:47.5% line:10% size:5% ♪♪ 53:57.900 --> 54:07.333 align:start position:47.5% line:10% size:5% ♪♪ 54:07.500 --> 54:16.966 align:start position:47.5% line:10% size:5% ♪♪ 54:17.100 --> 54:20.366 align:start position:35% line:84.67% size:30% [ Applause ] 54:40.133 --> 54:42.100 align:start position:22.5% line:10% size:55% [ Applause continues ] 54:54.900 --> 54:56.866 align:start position:22.5% line:10% size:55% [ Applause continues ] 55:13.233 --> 55:15.466 align:start position:17.5% line:10% size:67.5% -"Discover Beethoven's 5th" is an exploration 55:15.600 --> 55:18.733 align:start position:10% line:10% size:80% by Maestro George Marriner Maull and the Discovery Orchestra 55:18.866 --> 55:21.933 align:start position:15% line:10% size:70% of one of the best-known and most beloved symphonic movements 55:22.066 --> 55:23.566 align:start position:17.5% line:10% size:65% in all of classical music. 55:23.700 --> 55:25.833 align:start position:35% line:10% size:32.5% This program, along with additional chapters 55:25.966 --> 55:28.433 align:start position:12.5% line:10% size:75% containing the three movements of the symphony not included 55:28.566 --> 55:30.266 align:start position:17.5% line:10% size:65% in the original television program, 55:30.400 --> 55:34.100 align:start position:12.5% line:10% size:75% is available on DVD for $12.95 plus shipping and handling. 55:34.233 --> 55:35.133 align:start position:35% line:10% size:30% Order online 55:35.266 --> 55:38.833 align:start position:12.5% line:10% size:75% at www.discoveryorchestra.org. 55:38.966 --> 55:41.733 align:start position:12.5% line:10% size:75% This offer is made by American Public Television. 55:42.833 --> 55:44.466 align:start position:37.5% line:79.33% size:27.5% Funding for this Discovery Concert 55:44.600 --> 55:46.266 align:start position:22.5% line:79.33% size:55% has been made possible in part by...