Course: Beethoven’s 9th Symphony and the 19th Century Orchestra
Instructors: Thomas Forrest Kelly
Harvard’s Thomas Forrest Kelly guides learners through all four movements of Beethoven’s 9th Symphony, highlighting aspects of symphonic form, describing Beethoven’s composition process, the rehearsals and premiere performance, and the work’s continued relevance today.
You will learn the basics of musical form and analysis, the genres and styles used and the circumstances of this symphony’s first performance and subsequent history. Learners in this course need not have any prior musical experience.
Harvard music professor Thomas Forrest Kelly’s book “First Nights: Five Musical Premiers“, serves as a syllabus for his MOOC series. This is the second one I’ve taken, and it was just as enjoyable – and informative – as the first one on Handel’s Messiah (which I enthused about at length here).
These are gentle musical courses; at no point is it necessary to read music. There is some listening involved, recognizing themes or instruments. Mostly, it’s a detailed look at how the music is constructed to a specific purpose, in this case, to convey Beethoven’s frequent theme of light overcoming darkness.
Historical content is also included. True to the “First Night” title, each work’s premiere is covered: what the issues were, what it would’ve been like, the norms of the time. There’s a little biographical information as well. But the focus is on the music; in this case, on finding out why it’s considered a monumental work, what makes it different from other symphonies at the time, and the technical factors involved in creating the imagery and emotion that’s packed into the work. I actually thought they did a much more comprehensive job of this with the Handel, but that may be because the Beethoven encompasses a huge range of poetic, musical, social, psychological, and political elements; it’s a course designed for musical neophytes to complete in 5 weeks, so there is a limit to how much detail, of both breadth and depth, can be included.
I never took a single note during the Handel session; I’d intended it as a “recreational mooc.” I was going to pay more attention here, download the transcripts and significant screen shots, my usual approach with academic material. But I found that got in the way of the joy, and I wanted this to be about joy, not about work or achievement. I still did very well, score-wise; it’s a gut course, but a really good one. I love these courses. If Kelly’s book is followed, Monteverdi’s Orfeo, Berlioz’ Symphonie Fantastique, and Stravinsky’s Rite of Spring will be future courses. I’m somewhat familiar with Orfeo thanks to the Dartmouth opera course; it’s not my favorite music, but thanks to Prof. Steve Swayne, I understand why it’s of interest, and I’m looking forward to seeing what Prof. Kelly has to say. I’m looking forward to understanding more about Stravinsky and Berlioz as well; they’ve always been on the periphery of my musical tastes, but if anyone can ignite my interest and generate appreciation, Kelly can.