By C. B Colby
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Extra resources for Arms of our Fighting Men
103. The cadential drive in the previous bar prepares us for the tonic of E minor. We get the leading tone instead, materially a dominant, but the fortissimo dynamic stresses it as an appoggiatura, conceptually replacing the tonic. ) The conflict inherent in this passage may explain why Beethoven does not alternate tonic and dominant of E minor and instead needs to insist on conceptually reinforcing this local tonic in the face of weak material representation. 3. A remarkable and far-reaching detail is found in mm.
The cadential material includes a chain of applied dominants. The trio’s tonal/thematic structure divides into three large sections. The first starts in the key of Bß, and closes in the dominant, F. The second starts with a move to g-minor, which is interrupted by the return of earlier themes in Eß (IV). The section ends with a long expansion of the home dominant (in the form of an accompanied recitative). The third section recalls thematic material from the previous two sections, but all in the tonic.
Ed. 1988, 12. On the flip side of the coin, research on the nature of meaning and its connection to musical events only infrequently explores what would seem to be an obvious connection between drama and formal structure. Robert Hatten’s book Musical Meaning in Beethoven: Markedness, Correlation, and Interpretation is a noteworthy exception. Nowhere might the drama-structure connection be more evident, however, than in opera, where the formal units must somehow interact with dramatic considerations, both on a local, or inter-scene, level and on the opus-wide level.
Arms of our Fighting Men by C. B Colby