Beethoven Symphony No

3 March 2018

Compositions of the Classical period were simply written for the sake of music. In a sense, Beethoven is the youngest child of the three. Mozart and Haydn do things by the book, while Beethoven breaks the rues and finds his own way. He was the child of Enlightenment and emphasized individualism rather than tradition.

This is evident in symphony no. 5 (1 SST movement), which is one of Beethoven’s most popular works and still heard today. What Beethoven composed is revolutionary and unique. The symphony starts off with a 4-note motive, “dad dad dad dada”, that many of us can recognize.The motive was even played as a victorious moment through Morse Code in World War II. The most significant characteristic of the opening motif is the rhythm, which has very suspenseful pauses in between. The motive is played by the orchestra playing in unison, which is one reason why this piece is so revolutionary.

Beethoven Symphony No Essay Example

When asked about this very energetic motive present in the beginning of the symphony, Beethoven may have answered that it was “Fate knocking at the door” This piece exemplifies Beethoven because this C-minor symphony appears to picture the struggle of the individual with fate.There is also a ensue of revolutionary spirit present. During this time, the Napoleonic Wars were raging, political turmoil was present in Austria, and Vienna was occupied by Napoleon. People wanted to be free from dictatorship as they experienced a universal struggle. They were all longing for a breakthrough, a human release. The people of this time wanted to do things differently by breaking rules and finding their own identity. This is what Beethoven does in symphony no.

5. He composed in a very deliberate way, resulting in music that connects and touches very well with people.Beethoven was fascinated tit human emotions and successfully portrayed this in his symphonies. People found value in his music, while Beethoven struggled to find a sense of value in himself. Perhaps the fate knocking at the door had to do with his personal life. Fate struck Beethoven most cruelly in his early ass when he acknowledged the fact of his deafness and began the long process of coming to terms with a of musical disability and a social one (it did not interfere with his ability to compose) His standing as a pianist with excellent connections at court was seriously threatened, as well as his relationships with friends and women.His injections with court is crucial to him, because in terms of his career, Beethoven earned his money through publications and public performances, but depended on patrons in which he gave private performances and copies of his work which they commissioned for extra money.

The famous opening catches everyone’s ears because of its intensity. It is present with struggle and despair. The movement is played in a sonata- allegro form.Beethoven may have felt sorry for himself, but there is a sense of triumph expressed in the conclusion of the Fifth Symphony (4th movement). Beethoven is coming back from defeat and basically giving an attitude of, “l told you so” in regards to the fate knocking at the door. His struggles included thoughts of suicide, but He triumphs over his struggles and low points of his life with feelings of hope rather than despair. There are many musical elements present in the 1 SST movement.

The use Of dynamics during the first movement is absolutely amazing. Beethoven works with the loudness and softness of sound by using different types of instruments and also their volume, making it the perfect combination of instruments. The dynamics are very important because there are a lot of crescendos and decrescendos in the piece. Beethoven starts this piece with repeated basic motives. We then hear two themes. The first theme is an overlap of the motives by the violins and violas.The opening ends with a strong cadence and a general pause.

It is very intense and suspenseful. The opening motive is played by the entire orchestra in unison. The motive is heard in descending form and then ascending form, which leads to a dramatic climax, with the sound of horns being present. The second theme begins with a gentle, lyrical phrase accompanied by the motive in low strings. The phrase is played in turn by violins, clarinet, and flute. At the peak of the lima in the second theme, a strong closing theme emerges in the violins.

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