For those who love Beethoven and like to hear the type of musical analysis done on this video, the great pianist Andras Schiff did a series of lectures on the 32 Beethoven sonatas as he was in the process of playing them live and recording the cycle. They are in depth lectures, audio only, with Schiff discussing the music and playing to illustrate his points. These lectures were recorded and made available to the public by The Guardian. They are all available on RUclips.
Wish there were a library of all classical music that had this kind of analysis and/or explanation to help those of us who love classical music understand it better. If anyone knows of such a library please let me know where to find it on the Internet. Thank you.
I don't know of a library, but you would probably like the Discovery Orchestra concerts. They go through aspects of the music then play the whole piece.
There is another fine analysis of this same symphony on RUclips by John Eliot Gardiner who also fully conducts the Orchestre Revolutionnaire et Romantique (I think). Also, Sir John has done similar video studies of J.S. Bach which I have enjoyed.
Look on RUclips for Leonard Bernstein's lectures. He sits at the piano and discusses his analysis of various works, elegantly, deeply eruditely, and adoringly.
Maestro Schwarz, your understanding and easy comprehension and transference to your audience is one I commend. I respect you. Continue doing the great work.
There are many such achievements out there. Leonard Bernstein did it for decades with his many many lectures. Just for starters. And I don't know where you live, but probably your local symphony has lectures on the music they perform that are like this. It's quite common today, and has been for about the last 25 years.
He is a totally natural teacher. What a gift it would be to play in an orchestra under his baton. And the fact that his tempo is perfect--allowing the music to breathe--is a plus!
Thank you Maestro Schwarz for your analysis. So many extol Beethoven and his works, but don't break a symphony down into its component parts with such logical explanation. And you do it without throwing out reverence, which is a must when approaching the great composer.
What a superb explanation of perhaps THE iconic piece of classical music, Beethoven's Fifth Symphony. I found this video to be a wonderfully clear and succinct description of a deeply complex work by a real genius...a man operating at a level of creativity that has been approached, but never quite equalled.
That solo oboe cadenza in the recapitulation is surprisingly unremarked-upon, especially considering this might be the most famous symphonic movement of all time. The effect is as chilling as the solo clarinet in the Adagio of the 4th. If the symphonies represent Beethoven at his most outward, that solo oboe is a private, autumnal counterpoint.
This entire symphony is based on just 4 notes, sometimes the same 4 notes(mov. 3&4) Even the main part is just 4 notes. (one one one two three three three Four). Amazing!
I agree. It's amazing how Beethoven is able to take these minimal scraps, these motifs and develop them in all sorts of ways to produce a work larger than the sum of the motivic parts.
Amazing! I know when I was playing in my first year in high school, we played this symphony, the first time I heard it. And when the transition happened between the third and fourth movements, I almost dropped my violin, I was so shocked by the sudden heroic fourth movement. It was simply tremendous. Thank you for this analysis!
Well, I felt that Beethoven’s symphonies are more profound and heroic than just about all other composers who had composed symphonies. And most of his symphonies have lasting effect on a listener like me and I rarely get tired of listening to Beethoven’s music as I can almost always follow it with my humming ongoing.
All of Beethoven's do, for me. Plus his string quartets, violin concerto, Missa Solemnis, and piano sonatas. Unsurpassed for emotional depth and power and display of passion.
Desde Bernstein no había tenido la ocasión de sentirme tan a gusto con un análisis tan bueno de una de las sinfonías más importantes de toda la música sinfónica, gracias muchísimas gracias
Wow.. What a brilliant analysis. Mr. Schwarz, your explanation is highly enlightening and your analysis is so enriching. This is absolutely unmatched!! I love your vivid emotions and passion!!
When in fíthgrade , went to Cleveland's Severance Hall ón a Friday afternoon field trip, the offeriñg: Beethoven's 5,the Symphoñy, conducted by Maestro Louis Lané. I was completely blown away, with Lane tossing his baton(a tradition) into the audiencé...jn(BaroqueHearted)
@@artofthepossible7329 Probably not so much. But soothing is a relative term in the sense that different individuals may respond to the music differently; some may find it soothing. Perhaps people who are very familiar with the work and listen with great enjoyment find it soothing.
Mozart died at age 35. By age 35, Beethoven was just entering his second period, with almost all of his most recognized works still ahead of him, and died at the age of 56, which wasn't too bad by 19th Century standards. Beethoven is undoubtedly my favorite composer, but it's almost unfair to compare him to Mozart, whose life was cut short so prematurely.
DeflatingAtheism Yeah it’s sad that Mozart died at a young age. I’ve heard of everything from Tourette’s syndrome to Rheumatic Heart Disease as a cause of Mozart’s death.
this analysis is nice. one of the things I love about listening to the 5th is that I've heard the 3 short and one long throughout the ENTIRE symphony for years. I used to think the theme was the G-G-G eflat F-F-F-d. but the theme is just the 3 shorts and one long. IT's even more crazy listening to it on piano (like in the liszt transcriptions). the second movement definitely has it as well, but it isn't apparent initially. when the whole orchestra plays with the brass having the theme they are playing a 3 short and one long theme while the violins are just doing the undercurrent. sure there is the back and forth with the faster notes as the variations go on, but the main theme is the 3 shorts and one long for the 2nd movements. that's the one part that doesn't get varied in that movement. THe 3rd movement blatantly plays the 3 shorts and one long like the first movement does. The fourth movement, in addition to the middle part where the 3rd movement is recapitulated, also has the three shorts and one long rhythm throughout the closing theme until the very end. that 3 short and 1 long rhythm has been the entire theme and that's why they symphony has about 6-8 different endings just to get rid of all that tension. kinda like an itch that can't be scratched until the very end. Everytime I think about that symphony I get chills.
While you are 100% correct, there actually is a lot more musical inter-relationship and development of that 1st theme going on than just short-short-short-long showing up repeatedly. There is also an amazing array of "music-geek" stuff happening with intervalic expansion, contraction, encapsulation, inversion etc. There is an analysis I read where the author explains every single note in all 4 movements as a result of the development of either the intervals or the rhythm of that 1st theme. That might be a bit over the top IMO and sometimes I think the author is reaching a bit too far, but it makes you realize how brilliantly conceived this piece is and how integrated it is throughout. And I totally agree with your last 2 statements about the repeated endings being necessary to "air out" all the preceding musical energy and also the chills it still gives!
@@MichaelKentSmith Yeah, every single note being based on that motif, especially in the second movement is kind of overkill. But using the motivic development to explain how the sonata form of the first movement is monothematic at it's core, even though it doesn't sound monothematic, that's not overkill in my opinion, that's very reasonable. I've even heard that being explained in terms of generations like so: Generation 1: Original motif and first theme Generation 2: Descending step followed by ascending third, appears in the transition at the sforzandos Generation 3: Intervallic expansion from thirds to fifths, rhythmic congealing of second motif statement, Horn call that starts the second theme Generation 4: First half of horn call is inverted, melodic embellishment, Second Theme Melody Generation 5: Horn call contracted to steps and fully inverted, Pairs of long notes in the development and the coda Generation 6: 2 notes becomes 1, what was previously the upper note is now the only note, development only Generation 7: Inversion of Generation 2, appears in the coda I know I'm skipping a few there, like the repeated notes for multiple bars with the diminished chords, or the more scalar runs that are like Eb Eb D C or something like that, but you get the idea
Pardon me if this is old news, but when I was learning to play Beethoven, I was taught he wrote everything threes...if you listen, you will hear one phrase repeated a second time, but the third time he changes it up...! Love my sonatas!
Similarly, we don't make pop music the same as we made it 75 yrs ago. We evolve. Much of the best orchestral music today is made for movies. A lot of it is great, even though we don't compare it to classical music composers like Beethoven. It's different, and it's for a different purpose
I would humbly suggest that the CODA section is really a SECOND DEVELOPMENT as strange as this may sound. The themes are treated in an exploratory and developmental way and the whole section ends exactly as the 1st development ends, running straight into the recapitulation. The REAL coda which actually sounds and feels like a coda, is at 10:03. I would welcome a discussion about this idea.
You omitted to mention how Beethoven effectively uses short pauses throughout the first movement similar to punctuation marks to generate tension and energy and how that four note pattern is relentlessly chased down and driven to its ultimate conclusion. The sheer power of that coda is almost unmatched in music.
Excellent insights. I'm still a big 7th fan (superior emotional impact), but no question the 5th more broadly recognized for the qualities explained here.
I find it baffling, and it truly bothers me that he somehow misses this. At one point he even plays the motif from the second movement on the piano. I'm really struggling with how a guy who literally interprets Beethoven part of his job, and by all accounts is good at it, misses this.
you can hear the opening motif throughout the second movement as well, sometimes as a rhythmic pulse spanning two bars (quarter-quarter-quarter-dotted half) and sometimes alluded to using running triplets. Clever chap, that Beethoven.
The first movement motive Mr. Schwarz discusses does indeed appear in the second movement as the second theme. All that remains from the original is the rhythm first uttered in piano dolce by clarinets, bassoons and pizz. basses in mm. 23-6 then fortissimo oboes, horns, trumpets and timpani in mm. 32-5.. and again when the second theme reappears.
@@helenamarie4337 Yeah, agreed. I'm trying to imagine what "people" Mozart composed for, since except for Haydn and possibly his father there wasn't a person in his lifetime who understood him.
Can anyone help? I find my copy of the first movement has Contrabasso and Fagotti. I suppose that Fagotti is Bassoon. But most of the online copies of first movement changed Contrabassoon into Basso, but still have Fagotti. Why? Which one is correct?
0:00 1st Movement, Sonata Form, Allegro con brio, C min, 2/4 10:17 2nd Movement, Two Theme with Variations, Andante con moto, A flat maj, 3/8 17:46 3rd Movement, ABA Ternary Form: Scherzo and Trio, Allegro, C min, 3/4 25:22 4th Movement, Sonata Form, Allegro, C maj, 4/4
Thufir Hawat Yeah, tending to be superficial. So much important stuff left out. Anyone who knows the work well can analyse far beyond this level. I suppose it's good for those who want a quick introduction. In that regard, he does well.
A theoretical analysis of this piece would be so boring it wouldn't be worth posting. It would suck so much life out of the piece that nobody would be interested in going to hear it. Just enjoy and stop picking at nits.
I've got to say that I am not a huge fan of Beethoven's fifth due to how overplayed it is, but I cannot deny the mastery behind it. Also, I think it would be really fun and interesting to go over his 7th symphony. Thanks for these great videos!
For those who love Beethoven and like to hear the type of musical analysis done on this video, the great pianist Andras Schiff did a series of lectures on the 32 Beethoven sonatas as he was in the process of playing them live and recording the cycle. They are in depth lectures, audio only, with Schiff discussing the music and playing to illustrate his points. These lectures were recorded and made available to the public by The Guardian. They are all available on RUclips.
You and Andras Schiff is god sent, thanks so much
Amazing how Beethoven manages to take such basic musical concepts and use them as building blocks for such an elaborate work.
This is one of the most interesting videos I've ever seen. Thanks for analysing!
Wish there were a library of all classical music that had this kind of analysis and/or explanation to help those of us who love classical music understand it better. If anyone knows of such a library please let me know where to find it on the Internet. Thank you.
A nice place is a channel here on youtube: Richard Atkinson
@@jernejoblak7633 ]]⁰
I don't know of a library, but you would probably like the Discovery Orchestra concerts. They go through aspects of the music then play the whole piece.
There is another fine analysis of this same symphony on RUclips by John Eliot Gardiner who also fully conducts the Orchestre Revolutionnaire et Romantique (I think). Also, Sir John has done similar video studies of J.S. Bach which I have enjoyed.
Look on RUclips for Leonard Bernstein's lectures. He sits at the piano and discusses his analysis of various works, elegantly, deeply eruditely, and adoringly.
Maestro Schwarz, your understanding and easy comprehension and transference to your audience is one I commend. I respect you. Continue doing the great work.
This is why Beethoven is my favorite composer. His music is so dramatic and passionate yet still has such an organized and perfect structure.
Jordan Cortez Wartell Yes, absolutely. And his ability to unify 2 themes of extreme contrast as in this symphony of his is remarkable.
1) Total defeat
2) Strength rising within
3) Fight back using variation of first theme
4) Total victory
1. Fate knocking at the door
2. Promising beauty , peace, happiness.
3. Great struggle with enemy.
4. Victory .
1 is defiance against adversity, very far from total defeat.
@Joe Bloggs , Exactly. There is actually NO defeat in it. I think your description is very accurate.
Beethoven is the greatest composer and musician of all time.
Agreed!
Not as good as me
You heard him play?!? You must be very old!
One of the Best!
AMEN
That build up to the fourth movement always gets me. Gives me goosebumps. Really magnificent.
It's an achievement to talk about something like this and not sound pompous. Well done.
There are many such achievements out there. Leonard Bernstein did it for decades with his many many lectures. Just for starters. And I don't know where you live, but probably your local symphony has lectures on the music they perform that are like this. It's quite common today, and has been for about the last 25 years.
He is a totally natural teacher. What a gift it would be to play in an orchestra under his baton. And the fact that his tempo is perfect--allowing the music to breathe--is a plus!
I agree very much with your last sentence. The message of the music is easily snuffed out by too fast a tempo.
My knowledge and appreciation of Beethoveen's 5th is much better now.
i'm a conductor, but i agree w/ you.
You should try listening to the faster and original piece
Well after watching a thirty minute analysis it would be pretty ridiculous if it wasn’t...
Thank you Maestro Schwarz for your analysis. So many extol Beethoven and his works, but don't break a symphony down into its component parts with such logical explanation. And you do it without throwing out reverence, which is a must when approaching the great composer.
Amazing analysis with so much feeling and excitement! Thank you Mr Schwarz
I love this guys voice, he could read me anything and I would listen.
Very instructive to explain why we normally enjoyed this masterpiece
hundreds times and feels very fresh every time.
The first movement is incredible, like the whole synphony.
What a superb explanation of perhaps THE iconic piece of classical music, Beethoven's Fifth Symphony. I found this video to be a wonderfully clear and succinct description of a deeply complex work by a real genius...a man operating at a level of creativity that has been approached, but never quite equalled.
That solo oboe cadenza in the recapitulation is surprisingly unremarked-upon, especially considering this might be the most famous symphonic movement of all time. The effect is as chilling as the solo clarinet in the Adagio of the 4th. If the symphonies represent Beethoven at his most outward, that solo oboe is a private, autumnal counterpoint.
This entire symphony is based on just 4 notes, sometimes the same 4 notes(mov. 3&4) Even the main part is just 4 notes. (one one one two three three three Four). Amazing!
I agree. It's amazing how Beethoven is able to take these minimal scraps, these motifs and develop them in all sorts of ways to produce a work larger than the sum of the motivic parts.
Amazing! I know when I was playing in my first year in high school, we played this symphony, the first time I heard it. And when the transition happened between the third and fourth movements, I almost dropped my violin, I was so shocked by the sudden heroic fourth movement. It was simply tremendous. Thank you for this analysis!
This video is absolutely fantastic! Would you ever consider analyzing Beethoven's 9th?
oh, yes please!!!!!
Fantastic sometimes so painful, make me tears. I love it.
and symphony 6 and 7
Well, I felt that Beethoven’s symphonies are more profound and heroic than just about all other composers who had composed symphonies. And most of his symphonies have lasting effect on a listener like me and I rarely get tired of listening to Beethoven’s music as I can almost always follow it with my humming ongoing.
One of the few symphonies that brings me to tears.
All of Beethoven's do, for me. Plus his string quartets, violin concerto, Missa Solemnis, and piano sonatas. Unsurpassed for emotional depth and power and display of passion.
Desde Bernstein no había tenido la ocasión de sentirme tan a gusto con un análisis tan bueno de una de las sinfonías más importantes de toda la música sinfónica, gracias muchísimas gracias
Beethoven adding the Scherzo to final movement is the earliest form of adding the same exact content to stretch a video to 10 minutes long
Wow.. What a brilliant analysis. Mr. Schwarz, your explanation is highly enlightening and your analysis is so enriching. This is absolutely unmatched!! I love your vivid emotions and passion!!
Absolutely enlightning !
wonderful symphony !
Thank you very much for such a great
interpretation in great detail for this
great symphony.
Very instructive. You are Beethoven.
When in fíthgrade , went to Cleveland's Severance Hall ón a Friday afternoon field trip, the offeriñg: Beethoven's 5,the Symphoñy, conducted by Maestro Louis Lané. I was completely blown away, with Lane tossing his baton(a tradition) into the audiencé...jn(BaroqueHearted)
Brought me into the wonderful minds of music and musicians! Appreciate very much.
Thank you for making me treasuring and relistening this masterpiece even more
Very soothing, both the symphony itself and the analysis. The sound quality is great. Very in depth and detailed. Overall a great video.
Beethoven's 5th soothing?
SpaghettiToaster Yes, the second movement. : )
@@mydogskips2 And the rest?
@@artofthepossible7329 Probably not so much. But soothing is a relative term in the sense that different individuals may respond to the music differently; some may find it soothing. Perhaps people who are very familiar with the work and listen with great enjoyment find it soothing.
I love how passionate he is about music ❤️
This was soooo good, very enjoyable, many thanks for sharing!
A real great exposition! Many thanks.
This was an amazing production. I learned a lot. I hope to see more of these in the future.
Just Imagine if Beethoven and Mozart would live longer, how many Symphonys would be
Mozart died at age 35. By age 35, Beethoven was just entering his second period, with almost all of his most recognized works still ahead of him, and died at the age of 56, which wasn't too bad by 19th Century standards. Beethoven is undoubtedly my favorite composer, but it's almost unfair to compare him to Mozart, whose life was cut short so prematurely.
DeflatingAtheism Yeah it’s sad that Mozart died at a young age. I’ve heard of everything from Tourette’s syndrome to Rheumatic Heart Disease as a cause of Mozart’s death.
@@DeflatingAtheism "DeflatingAtheism" lol
Gerard Schwarz is no doubt a master conductor and musical scholar. Fantastic analysis!
Goodness, such a master of variation and development!
I love your analysis, Sir! Thank you!
What a gift! Thanks so much for sharing.
24:25, this section leading up to the dramatic crescendo is the high point of the symphony!
this analysis is nice. one of the things I love about listening to the 5th is that I've heard the 3 short and one long throughout the ENTIRE symphony for years. I used to think the theme was the G-G-G eflat F-F-F-d. but the theme is just the 3 shorts and one long. IT's even more crazy listening to it on piano (like in the liszt transcriptions). the second movement definitely has it as well, but it isn't apparent initially. when the whole orchestra plays with the brass having the theme they are playing a 3 short and one long theme while the violins are just doing the undercurrent. sure there is the back and forth with the faster notes as the variations go on, but the main theme is the 3 shorts and one long for the 2nd movements. that's the one part that doesn't get varied in that movement. THe 3rd movement blatantly plays the 3 shorts and one long like the first movement does. The fourth movement, in addition to the middle part where the 3rd movement is recapitulated, also has the three shorts and one long rhythm throughout the closing theme until the very end. that 3 short and 1 long rhythm has been the entire theme and that's why they symphony has about 6-8 different endings just to get rid of all that tension. kinda like an itch that can't be scratched until the very end. Everytime I think about that symphony I get chills.
While you are 100% correct, there actually is a lot more musical inter-relationship and development of that 1st theme going on than just short-short-short-long showing up repeatedly. There is also an amazing array of "music-geek" stuff happening with intervalic expansion, contraction, encapsulation, inversion etc. There is an analysis I read where the author explains every single note in all 4 movements as a result of the development of either the intervals or the rhythm of that 1st theme. That might be a bit over the top IMO and sometimes I think the author is reaching a bit too far, but it makes you realize how brilliantly conceived this piece is and how integrated it is throughout.
And I totally agree with your last 2 statements about the repeated endings being necessary to "air out" all the preceding musical energy and also the chills it still gives!
@@MichaelKentSmith Yeah, every single note being based on that motif, especially in the second movement is kind of overkill. But using the motivic development to explain how the sonata form of the first movement is monothematic at it's core, even though it doesn't sound monothematic, that's not overkill in my opinion, that's very reasonable. I've even heard that being explained in terms of generations like so:
Generation 1: Original motif and first theme
Generation 2: Descending step followed by ascending third, appears in the transition at the sforzandos
Generation 3: Intervallic expansion from thirds to fifths, rhythmic congealing of second motif statement, Horn call that starts the second theme
Generation 4: First half of horn call is inverted, melodic embellishment, Second Theme Melody
Generation 5: Horn call contracted to steps and fully inverted, Pairs of long notes in the development and the coda
Generation 6: 2 notes becomes 1, what was previously the upper note is now the only note, development only
Generation 7: Inversion of Generation 2, appears in the coda
I know I'm skipping a few there, like the repeated notes for multiple bars with the diminished chords, or the more scalar runs that are like Eb Eb D C or something like that, but you get the idea
See some of The Fabulous Philadelphians in this orchestra! I'll be hearing them play this piece in three days.
Super great, please Maestro make more videos, you are the best!
Pardon me if this is old news, but when I was learning to play Beethoven, I was taught he wrote everything threes...if you listen, you will hear one phrase repeated a second time, but the third time he changes it up...! Love my sonatas!
I've heard that as a general rule of music- if you're going to repeat something three times, change something the third time.
Good musical explanation of Beethoven's famous 5th symphony.
I was searching for a video like this. Thank you.
Absolutely wonderful video! Thanks for sharing!
Hope you do one about the 9th Symphony!
Thanks a lot for this wonderful analysis... Many blessings, Max T
Thank you Mr Schwarz!
Why is it that present day music composers have not been able to come up with anything like Beethoven's symphonies? I love Beethoven's symphonies.
Combination of not being smart enough and they would be accused of just trying to copy an old style, unfortunately.
Similarly, we don't make pop music the same as we made it 75 yrs ago. We evolve. Much of the best orchestral music today is made for movies. A lot of it is great, even though we don't compare it to classical music composers like Beethoven. It's different, and it's for a different purpose
Bryan Quall correct!!
I would humbly suggest that the CODA section is really a SECOND DEVELOPMENT as strange as this may sound. The themes are treated in an exploratory and developmental way and the whole section ends exactly as the 1st development ends, running straight into the recapitulation. The REAL coda which actually sounds and feels like a coda, is at 10:03. I would welcome a discussion about this idea.
You omitted to mention how Beethoven effectively uses short pauses throughout the first movement similar to punctuation marks to generate tension and energy and how that four note pattern is relentlessly chased down and driven to its ultimate conclusion. The sheer power of that coda is almost unmatched in music.
Thank you very much for the super detail structure analysis
of the fifth symphony
Have a wonderful holiday
Thank you. This is so interesting and well explained!
This man is good at interpreting Beethoven, his interpretations are my style
Excellent insights. I'm still a big 7th fan (superior emotional impact), but no question the 5th more broadly recognized for the qualities explained here.
3 mins in am I’m having chills! Great vid!
An outstanding analysis !!
Wonderful analysis! This will be great help with my term paper!
I like this a lot.
I like this a lot too
The 4 note theme is heard in all 4 movements in various guises.
I find it baffling, and it truly bothers me that he somehow misses this. At one point he even plays the motif from the second movement on the piano. I'm really struggling with how a guy who literally interprets Beethoven part of his job, and by all accounts is good at it, misses this.
Thank you for brilliant analysis !
Beethoven 5th Symphony: Analysis by Gerard Schwarz
you can hear the opening motif throughout the second movement as well, sometimes as a rhythmic pulse spanning two bars (quarter-quarter-quarter-dotted half) and sometimes alluded to using running triplets. Clever chap, that Beethoven.
and the ending always makes me laugh, like he has to stomp on it till it stops moving.
Beethoven could literally experiment and create anything from anything the man was like a machine we will never see the likes of him again
This is a great video to watch while taking Music Appreciation, MUSI 122!
I really really REALLY like these analysis videos -u-
Wonderful!!!
Thank you very much for the video! It was very helpful.
fantastic!!!!!
19:15
20:00
21:10
23:03
24:35
25:10
25:28
27:02
27:23
27:46
27:57
28:44
29:32
30:23
Very well done; great editing work... Congrats 🎉❤
30:16, according to Schwartz, the 5th is one of the great symphonic masterpieces in music!
According to ears!
idk much about classical music, but I need more videos like this so I can figure out a way to learn from it and apply it to my own productions/music
Schwarz is an excellent pedagogue
The first movement motive Mr. Schwarz discusses does indeed appear in the second movement as the second theme. All that remains from the original is the rhythm first uttered in piano dolce by clarinets, bassoons and pizz. basses in mm. 23-6 then fortissimo oboes, horns, trumpets and timpani in mm. 32-5.. and again when the second theme reappears.
Bach composed for God. Mozart composed for the people. Beethoven composed for freedom.
Mozart composed for the Enlightenment. Listen to his Masonic Funeral Music in C minor K.477
All my works are in the service of God
cringe
@@helenamarie4337 Yeah, agreed. I'm trying to imagine what "people" Mozart composed for, since except for Haydn and possibly his father there wasn't a person in his lifetime who understood him.
And...he's dead.
great video!!! Thank you very much
That was great!
Thanks a lot!!!!
I am so impressed right now
great video love it!
Simply brilliant
Terrific! 🌟
I'll never hear that oboe the same way again. Thank you
Love this video
First horn looks like Mahler. Nice analysis!
Can anyone help? I find my copy of the first movement has Contrabasso and Fagotti. I suppose that Fagotti is Bassoon. But most of the online copies of first movement changed Contrabassoon into Basso, but still have Fagotti. Why? Which one is correct?
In Germany the beginning of the 4th movement is knows as a song for children: "A, B, C, die Katze lief im Schnee"
0:00 1st Movement, Sonata Form, Allegro con brio, C min, 2/4
10:17 2nd Movement, Two Theme with Variations, Andante con moto, A flat maj, 3/8
17:46 3rd Movement, ABA Ternary Form: Scherzo and Trio, Allegro, C min, 3/4
25:22 4th Movement, Sonata Form, Allegro, C maj, 4/4
This is more a very good description than an analysis, isn't it?
Thufir Hawat Yeah, tending to be superficial. So much important stuff left out. Anyone who knows the work well can analyse far beyond this level. I suppose it's good for those who want a quick introduction. In that regard, he does well.
A theoretical analysis of this piece would be so boring it wouldn't be worth posting. It would suck so much life out of the piece that nobody would be interested in going to hear it. Just enjoy and stop picking at nits.
Opinions, SM. These are all just opinions.
Does anyone know why the third eigth note of the fate motive is always played short like a sixteenth?
MASTERPIECE
Very enlightening.
Excellent
I've got to say that I am not a huge fan of Beethoven's fifth due to how overplayed it is, but I cannot deny the mastery behind it. Also, I think it would be really fun and interesting to go over his 7th symphony. Thanks for these great videos!