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12 July 2020: Gospel Music: Singers of color overcoming adversity, with Yvonne Brandon

7 pm, 12 July 2020, Yvonne Brandon will give us an overview of gospel music, how singers of color overcoming adversity.

Ask us for an invitation to our Zoom session at 7 pm on Sunday 12 July.

Support Yvonne Brandon and the music program at St. Therese Church (suggested donation $10):

28 June 2020: Native American Women: Overcoming adversity through music, with Sondra Segundo

7 pm, 28 June 2020, Haida artist and singer Sondra Segundo will give us an overview of how Native American women are overcoming adversity through music.

Ask us for an invitation to our Zoom session at 7 pm on Sunday 28 June.

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31 May 2020: Beethoven’s Seventh Symphony, with Dr. Charles Hiestand

7 pm, 31 May 2020, Dr. Charlie Hiestand took us on a harmonic tour of Beethoven’s extraordinary “Seventh Symphony.”

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22 May 2020: Gretchen Yanover

Gretchen Yanover on electric cello, performs her “loop constructed” second movement from Beethoven’s 7th symphony, Beethoven’s “Ode to Joy,” Bach’s prelude to “Cello Suite No. 1,” and her own compositions “Resoluto,” “Willow Waltzes On,” “Suddenly I Felt Joy,” and “Heart and Sky.”

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Listen, watch, buy a CD, or drop something into Gretchen’s tip jar,

17 May 2020: Elizabeth Douthitt Sharp

Liz presents an overview – Women in Jazz: Overcoming Adversity.

Title Description Actions
WomenInJazz-YouTubePlaylist.pdf Women in Jazz: YouTube playlist View
WomenInJazz-resources.pdf Women in Jazz: Resources View

(The hyperlinks in these PDFs work if you download them; they don’t work if you only view them.)

26 April 2020: Matthew Weiss & Thomas Bell

Matthew Weiss on violin, with Thomas Bell on piano, performing Beethoven’s “Romance in F Major” for violin and orchestra (Thomas Bell on the Steinway orchestra).

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Follow Matt Weiss at Pranakasha Productions,

17 April 2020: Thomas Bell

Thomas Bell describes the structures of Beethoven’s piano sonatas and plays selections to illustrate these.

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Beethoven Piano Sonatas

by Thomas Bell

Sonata Form

The terminology was apparently adopted after Beethoven’s time.

  • Exposition (First Part)
    • First Theme (tonic)
    • Second Theme (dominant OR relative minor/major)
  • Development (Durchführung - “Working Out”). Improvisatory in nature, working through several keys
  • Recapitulation (Da Capo) often with Coda which embellished primary theme Both themes in tonic, some additional development or variation

Other Forms Used in a Sonata

  • ABA Song Form (often in second movement with a slow tempo)
  • Minuet/Scherzo (often in third movement if Sonata has four movements)
    • Minuet/Scherzo - ABA(A)
    • Trio - CDC
    • Minuet/Scherzo - ABA
  • Theme & Variations
  • Rondo (often for last movement) - characterized by a primary theme which returns between secondary themes - ABACADA etc.
  • Sonata Rondo - hybrid

Historical Information

  • Early Period: Follows models of Haydn & Mozart
    • Op. 13 (“Pathetique”) a breakthrough, establishes autonomy as a composer
  • Mature: Sonata and all other forms frame a more personal expression. Includes:
    • “Moonlight,” op. 27 no. 2
    • “Tempest,” op. 31 no. 2
    • “Waldstein,” op. 53 (expands form, brilliant and uplifting)
    • “Appassionata,” op. 57 (deeply personal, intense, considered tragic by writers)
    • Also “Fidelio,” Piano Concerti nos. 3, 4 and 5.
  • Late: Increasingly inward-looking, exquisite, learned, very profound. At this time he is totally deaf. Require great artistic maturity and insight. Unparalleled achievements. Some works have only two movements.

Op. 7 in E-flat

  • Movement I (Allegro molto e con brio). Follows standard key relationship of:
    • First Theme in Tonic (E-flat)
    • Second Theme in Dominant (B-flat)
    • Development
    • Recap with Second Theme in Tonic
    • Coda
  • Movement II in C (Largo, con gran espressione)
    • First Theme in C, standard 8 mm.
    • Second Theme in G, 6 mm.
    • First Theme returns altered in third bar
    • Third Theme in A-flat
    • Reprise
    • Coda - Third Theme returns on C
  • Movement III in E-flat (Allegro). Menuetto
    • Standard tonic-dominant relationships, with some development
    • Trio in parallel minor
  • Movement IV in E-flat (Poco Allegretto e grazioso). Rondo
    • ABACABA with Developmental Coda
    • C Theme in C minor

Op. 10 no. 3 in D

  • Movement I (Presto)
    • First Theme in Tonic
    • Second Theme in Relative Minor (B)
    • Third Theme in Dominant (A), followed by variant of first theme
    • Development - States theme in B-flat, moves through G minor, E-flat, A
    • Recap with Second Theme in E minor (relative minor of Dominant), Third Theme in Tonic
  • Movement II in D minor (Largo e mesto) - ABA Song Form with Coda
  • Movement III in D (Allegro). Menuetto
    • A Theme in Tonic
    • B Theme in Relative Minor (B minor)
    • Trio begins in Subdominant (G), moves to Dominant (A)
  • Movement IV in D (Allegro). Rondo. ABACA with Coda.
    • A Theme on Tonic
    • B Theme on Dominant
    • C Theme on Flat Submediant (B-flat)

Op. 13 (Grande Sonate Pathetique) in C minor

  • Introduction.
    • First Theme in C minor
    • Second Theme in E-flat
    • Intro Theme returns following Exposition
    • Development cycles through E minor, D major, G minor, F major, F minor, finally to an extended Dominant 7th
    • Recap with Second Theme in Tonic
  • Movement II in A-flat (Adagio cantabile) - ABA Song Form with Codetta
    • Second Theme in Parallel Minor (A-flat minor), cycles through E
  • Movement III in C minor. (Allegro) Rondo - ABACABA with Coda
    • B Theme in Relative Major (E-flat)
    • C Theme in Submediant (A-flat)

Op. 28 in D

  • Movement I in D. (Allegro)
    • Large second section begins in C#, resolves to F# minor, moves to A (dominant). Three distinct motives in this section.
    • Development begins with primary theme in C
    • Additional development in Recap, with second theme in F#, resolves to B minor before returning to tonic.
  • Movement II in D minor. (Andante)
    • ABA Song Form with B section in D major (Parallel Major).
    • Reprise elaborates primary theme.
  • Movement III in D. (Allegro vivace). Scherzo
    • Trio in B minor (Relative Minor)
  • Movement IV in D. (Allegro, ma non troppo). Rondo
    • B Theme in A Major (dominant)
    • C Theme begins in G Major, modulates in developmental manner
    • Return of B Theme in tonic
    • Coda

Op. 53 in C (“Waldstein”)

  • Movement I (Allegro con brio)
    • Second Section in E
    • Development: beings in F, cycles through C minor, G minor, C minor, F minor, C- flat, A-flat, back to C, F, B-flat, E-flat minor, F#, B, G (extended)
    • Recap - Second Theme returns in A, before moving to C
  • Introduzione (Adagio molto) in F - Replaced original second movement
  • Finale (Allegretto moderato). Rondo. ABACA
    • B Theme in A minor
    • C Theme in C minor
    • A returns on A-flat
    • “Developmental” section - cycles through keys then an extended dominant section
    • Extended Coda

Op. 57 in F minor (“Appassionata”)

  • Movement I (Allegro assai)
    • Second Theme in Relative Major (A-flat) with A-flat minor lead-in
    • Third Theme returns to A-flat minor (cycles through keys you will “never” see - F- flat and C-flat)
    • “Cadence” Theme leads to
    • Development: cycles through E, E minor, C minor, A-flat, D-flat, B-flat minor, G-flat, B minor, G, C
    • Extended Improvisatory section on the dominant
    • Recap: Second Theme in Parallel Major (F), Third Theme in Tonic
    • Developmental Coda
  • Movement II in D-flat (Andante con moto) - Theme & Four Variations
    • Chorale
    • “Resolves” to a diminished 7th chord, leading to
  • Finale in F minor (Allegro ma non troppo)
    • Introduction serves as an extended cadence
    • Exposition reveals several distinct motives. Development begins in B-flat minor
    • No quick cycling through keys, F minor predominates