"Fate" (music)

Japanese: 《運命》（音楽） - うんめい

...Each of Beethoven's nine pieces (1800-24) contains its own unique concerns. His works include the Second (1802), which introduced the scherzo; the Third (1804), which features a dramatic expansion of the formal scale, especially in the development and codas, the laborious development and variation techniques using a wide variety of motives, and a grand concept that give the piece a monumental air; the Fifth (1808), which features many innovative elements, such as the unification of all the movements by an opening motive, the organic connection between the movements and a design that places the climax in the final movement, and the introduction of the trombone, an instrument originally reserved for churches and theaters; the Sixth (1808), Pastoral, which has a title-like nature and consists of five movements (3rd to 5th are consecutive); and the Ninth (with Chorus) (1824), which features a soloist and chorus in the final movement to sing the hymn of the spiritual ideals of the era and also makes effective use of percussion instruments. In particular, the absolute and programmatic character of the piece, the unification of the entire piece with a single motive, and the introduction of new instruments and voices had a decisive influence on subsequent symphonic works.

From Beethoven

...It was from the Heroic Symphony that the development section in sonata form became longer than the length of the exposition, and he also made reforms in the instrumental arrangement, such as increasing the number of horns to three and separating the cello and double bass parts. The expansion of the arrangement, which was inevitably required by the music he pursued, saw the unprecedented introduction of three trombones in his Symphony No. 5, Fate, Op. 67 (1808). In this piece, he also began to use piccolos and double bassoons, but it is well known that his greatest innovation in the arrangement of his symphonies was his Ninth Symphony with Chorus, Op. 125, which he wrote in his later years. ...

From [Records]

...The first large-scale orchestral recording (Tchaikovsky's Nutcracker by the London Palace Orchestra, conducted by H. Fink, on Odeon) was released in 1909. The first symphony recording (Beethoven's Fate and Pastoral by the Odeon String Orchestra, with an unknown conductor, on Odeon) was released in 1913. Meanwhile, hits among operettas became popular in Europe, and dance music became popular in America, leading to a great expansion of the pop music genre, and the gramophone and records also became popular....

*Some of the terminology that refers to "Destiny (music)" is listed below.

Source | Heibonsha World Encyclopedia 2nd Edition | Information

Japanese:

…　ベートーベンの9曲(1800‐24)はいずれもそれぞれに特有の問題意識をはらんでいる。スケルツォを導入した《第2番》(1802)，特に展開部やコーダにおける形式的規模の飛躍的拡大，多種多様な動機による展開労作と変奏技法，そして雄大な構想，これらが曲に記念碑的な風格を与えている第3番《英雄》(1804)，冒頭動機による全楽章の統一，楽章間の有機的な連係と頂点を終楽章に置いた設計，本来教会や劇場専用の楽器であったトロンボーンの導入等々，革新的な要素の多い第5番《運命》(1808)，あるいは標題性をはらんだ全5楽章(3～5は連続)の第6番《田園》(1808)，そして終楽章で独唱と合唱を登場させて時代の精神的理想をうたいあげ，さらに打楽器群を効果的に使用した《第9番(合唱付)》(1824)など，革命期の新しい市民層の意識を背景とした作品群がある。特に絶対音楽的性格と標題音楽的性格，単一動機による全曲の統一，新しい楽器と声部の導入などは，以後の交響的作品に決定的な影響を及ぼした。…

【ベートーベン】より

…ソナタ形式の展開部が提示部の長さを上回る規模になるのも《英雄交響曲》からであるし，楽器編成上でもホルンを3管に増強したり，チェロとコントラバス声部を独立･分離させるという改革も行ったのである。彼の追求する音楽が必然的に要求する編成の拡大は《第5番･運命》作品67(1808)に至って前例のないトロンボーン3管の導入をみることになる。この曲ではさらにピッコロやコントラ･ファゴットも使用され始めるのであるが，こうした彼の交響曲における編成上の最大の革新が晩年の《第九交響曲･合唱付》作品125であることはよく知られたことである。…

【レコード】より

…大規模な管弦楽のしかも組物のレコード(H.フィンク指揮，ロンドン･パレス･オーケストラによるチャイコフスキーの《くるみ割り人形》，オデオン盤)は09年に初めて出された。最初の交響曲録音(指揮者不明のオデオン弦楽オーケストラによるベートーベンの《運命》と《田園》，オデオン盤)は13年であった。一方，ヨーロッパではオペレッタ中のヒット曲が，アメリカではダンス音楽が大流行して，ポピュラー音楽の分野が大きく伸び，蓄音機とレコードも大衆化した。…

※「《運命》（音楽）」について言及している用語解説の一部を掲載しています。

出典｜株式会社平凡社世界大百科事典第２版について | 情報

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