In classical music who would be the opposite to composer Beethoven who was all fire and grandeur in his compositions?

I often think when hearing Beethoven's music which other classical composer would be the direct opposite to his grand style. Interesting thought. Asked by goldie080 48 months ago Similar questions: classical music opposite composer Beethoven fire grandeur compositions Entertainment > Music.

Similar questions: classical music opposite composer Beethoven fire grandeur compositions.

Nice one! Still in the Western tradition, how about Debussy or Delius? Either of those might fit, do you agree?

I suppose that there should be some parameters to the answer (like, orchestral as well as single-instrument; roughly the same time-period; and Western). Otherwise one might have to think about including gamelin music, maybe - although I'm not sure whether any individual composer is responsible for designing gamelin music; and if you stretch to the 20th/21st century, then would Philip Glass come in? Yu've gone and put that question into my dreams now, darn you.

But thanks for the start of a Good Think.

Haydn. Although Beethoven was a pupil of Haydn, Beethoven plowed new earth where no one else was willing to tread. Break the rules?No.

Absolutely not. He simply expanded our musical vocabulary into another level. Haydn is in so many ways an opposite of Beethoven in his very refined, mannered emotional style as well as his use of structure.

Beethoven was structured as well, but he tended to push the envelope in his development of motives/themes (think of Symphony No.3 right from the get-go) . Haydn had a tough time being publicly honest about his feelings toward Beethoven’s Op.1 piano trios, but even Haydn must have seen the polar opposites in style between he and Beethoven and must have realized the new potential in emotional expression that was so often forbidden before. That’s not to say that music was not emotionally charged before, but one must admit, stylistically, there was nothing like this before Beethoven.

This isn’t a bashing of Haydn either. At one time I would have thought Haydn to plain or boring, but as I have gotten older, I have truly started to appreciate his music’s complexity and refinement that I would not have when I was younger. Plus, it helps to actually explore much deeper into his catalog than the ’Clock’ symphony and works like that one.

Therion_6's Recommendations Haydn: The Complete Piano Sonatas Amazon List Price: $95.98 Used from: $62.57 Average Customer Rating: 4.5 out of 5 (based on 14 reviews) Haydn: String Quartets "Prussian", Op. 50, Nos.4-6 Amazon List Price: $8.99 Used from: $2.99 The Prussian Quartets are amazing. Especially No.4 in F# minor.

The piano sonatas are not to be overlooked. McCabe's performance is superb! .

Ralph Vaughan Williams Ralph pronounced “raif” ) You did not give a time limitation, i.e. You didn't note that the person should be a contemporary of Beethoven so I immediately thought of Vaughan Williams. classicalarchives.com/main/v.html#VAUGHAN w3.rz-berlin.mpg.de/cmp/vaughan_williams... (born Down Ampney, 12 October 1872; died London, 26 August 1958).

He studied with Parry, Wood and Stanford at the RCM and Cambridge, then had further lessons with Bruch in Berlin (1897) and Ravel in Paris (1908). It was only after this that he began to write with sureness in larger forms, even though some songs had had success in the early years of the century. That success, and the ensuring maturity, depended very much on his work with folksong, which he had begun to collect in 1903; this opened the way to the lyrical freshness of the Housman cycle On Wenlock Edge and to the modally inflected tonality of the symphonic cycle that began with A Sea Symphony.

But he learnt the same lessons in studying earlier English music in his task as editor of the English Hymnal (1906) - work which bore fruit in his Fantasia on a Theme by Tallis for strings, whose majestic unrelated consonances provided a new sound and a new way into large-scale form. The sound, with its sense of natural objects seen in a transfigured light, placed Vaughan Williams in a powerfully English visionary tradition, and made very plausible his association of his music with Blake (in the ballet Job) and Bunyan (in the opera The Pilgrim's Progress). Menwhile the new command of form made possible a first orchestral symphony, A London Symphony, where characterful detail is worked into the scheme.

A first opera, Hugh the Drover, made direct use of folksongs, which Vaughan Williams normally did not do in his orchestral works. However, certainly facilitated the pastoral tone of The Lark Ascending, for violin and orchestra, and then of the Pastoral Symphony. At the beginning of the 1920s there followed a group of religious works continuing the visionary manner: the unaccompanied Mass in g Minor, the Revelation oratorio Sancta civitas and the 'pastoral episode' The Shepherds of the Delectable Mountains, later incorporated in The Pilgrim's Progress.

But if the glowing serenity of pastoral and vision were to remain central during the decades of work on that magnum opus, works of the later 1920s show a widening of scope, towards the comedy of the operas Sir John in Love (after The Merry Wives of Windsor) and The Poisoned Kiss, and towards the angularity of Satan's music in Job and of the Fourth Symphony. The quite different Fifth Symphony has more connection with The Pilgrim's Progress, and was the central work of a period that also included the cantata Dona nobis pacem, the opulent Serenade to Music for 16 singers and orchestra, and the a Minor string quartet, the finest of Vaughan Williams's rather few chamber works. A final period opened with the desolate, pessimistic Sixth Symphony, after which Vaughan Williams found a focus in the natural world for such bleakness when he was asked to write the music for the film Scott of the Antarctic: out of that world came his Seventh Symphony, the Sinfonia antartica, whose pitched percussion coloring he used more ebulliently in the Eighth Symphpny, the Ninth returning to the contemplative world of The Pilgrim's Progress.

Extracted with permission from The Grove Concise Dictionary of Music edited by Stanley Sadie © Macmillan Press Ltd. , London. Sources: my experience .

In my opinion The more intellectualized mathematical Bach pieces.

I'd say.... Debussy. Instead of fire and grandeur, Debussy gives us something cool and quiet and introspective.To illustrate the contrast, I’m attaching two youtube clips featuring the music of Beethoven and Debussy, respectively. Hope you enjoy!

Interesting thought, indeed. Video Here's Beethoven Symphony No. 5, 4th movement, conducted by Arturo Toscanini Video Clair de Lune from Suite Bergamasque composed by Debussy .

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