The fact that Beethoven wrote the 5th and 6th Symphonies, two dramatically different pieces, at the same, and that he composed his magnum opus, his 9th Symphony while completely deaf is a true testament to his genius.
People back then wrote music without hearing it. From a technically standpoint it not that big a deal. From an emotional standpoint, I don't know how he had rhe heart to keep going knowing he couldn't reward himself. My guess is be knew a woman would hear it, and thats all that mattered.
And it is speculated that the sketches of the Fifth Symphony were also the sketches of the Fourth Symphony cause he used similar materials(descending thirds among other things) in totally different ways and there are no sketches of a Bb major symphony in Beethoven’s sketches.
@@ignacioclerici5341Yes. He was a hopeless romantic. He spent years being in love and getting rejected. In fact one of his most famous tunes was a musical love letter for one of his students-Für Elise. It was created to be easier than his other works so that she would be able to play it.
Disregarding, of course, the famous "drunken" solo of the second bassoon in the 3rd movement (probably put in the second bassoon part because Beethoven thought most first bassoonists would be too proud to play it with the proper drunkenness (and he was right!))
1. I like how positive all the comments are. 2. I like the sincerity with which you approach classical music. 3. You should make a video about Beethoven's Op. 111 2nd movement because holy moly that shit is sublime when the melody comes back after the sequency stuff.
I loved the vocal impersonation of the baroque horn! I actually laughed out loud. Thank you for your careful curation, highlights and anecdotes of and on these passages.
21:16 That's probably my favorite orchestral moment of Beethoven's and of course 22:34 is my second favorite, hah that's why the 7th is the best symphony
Richard Atkinson Mahler 1st, the march in the finale Mahler 2nd, I don't know 3rd, pretty much anything in the first movement 4th, I don't know this symphony 5th, coda of the finale 6th, the whole thing is badass, even the ADAGIO 7th, definitely the coda of the first movement 8th, idk 9th, either of the middle movements, or the transition from second to third LvdE, the repeat (?) of the opening bars in the middle of the first movement
SilverChloride For Mahler's 2nd, it's got to be that apocalyptic brass assault about 2/3 through the first movement that ends with a dramatic punctuation by the strings. It is followed by a moment of silence, then continues to the main theme in the strings again.
As a piano teacher, this is a phenomenal effort--bravo! It is so nice to be on the receiving end of this kind of instruction--makes me gain an even deeper appreciation of the symphonies. Thank you for posting.
I’ve always noticed that beautiful passage in the 2nd movement of the 9th. We are moving at such a fast pace, so much energy, and then a wash of beauty.
The 3rd probably rules above all for me, but the 5th, 6th, 7th, even 8th, and of course 9th are the best ones whenever listening to them. I say the 4th is an overlooked gem also, that broody build up to a rousing 1st movement! Cheers for taking the time to make this, fine choices.
29:36 you are so right when you say this is the most beautiful and meaningful passage of this symphony: in Beethoven's own words, it is "the coming together of Human Kind, in perfect harmony", like synchronised breathing, Tonic - Dominant, Tonic - Dominant ...................... Finally! Everything makes sense!...... all the build-ups come together flawlessly ........ Happiness! Bliss!........ "but unfortunately, for the briefest of moments" ......... then it's over, everything comes crashing down.........Tonic-Subdominant, Tonic-Subdominant ................ and back to the anger and suffering!............absolutely divine, it brings tears to my eyes. Thank you for you work, 1.000.000.000 likes from me!
From a purely amateur perspective, I especially enjoyed your comparison to Bruckner's eighth symphony. Whilst the technical notes go somewhat above my head, you explain things lucidly and elegantly. Thank you.
The Trio of the Mighty 9th charmed this listener from the first, because it carries an air of mysterious hope and anticipation about it, as if the composer were quietly ruminating, “How might life be if Joy were the rule?” For a new listener who has yet to experience the Finale of the work, the effect is intended to be galvanizing, persuasive, as if Beethoven is telling us, “I have an important message for everyone, for which you must be properly prepared.” The purpose of this Trio is to plant musical seeds that will take root as Mvt. III unfolds, and burst vividly forth, quite unexpectedly, from the very first measure of the Finale.
'Really gorgeous moments in Symphony 8 are hard to come by'. The 9th's passage represents my brain trying to figure this out lol. The exp of the allegro con brio just gets me everytime i listen to it. The whole movement feels so classic but so romantic at the same time... the development is just a masterpiece of a crescendo to a seemingly not enough resolution on part A that comes bursting at the second part, now on the tonic... and the last statement of the melody to finish the movement instead of a V-I block thing just does it for me. Excluding this particular phrase i can agree with everything you said since you are the best to explain things even though they should be subjective... Another great video dude, thanks!
Not so much a "sublime moment" for me, but just a great indicator of Beethoven's immeasurable cleverness. If you listen to the 4th movement of the 9th Symphony, you can hear that the piece opens with a wonderful, musical conversation. Different sections try to reintroduce themes from the 1st & 2nd movements-only to be harshly rebuffed by the low strings each time. Then the orchestra tries to reintroduce the 3rd movement theme, & the low strings initially go along with the sweet melody....but finally rebuff it. Then the Ode to Joy kicks in, & the low strings do the equivalent of a "yes, now that's more like it". It truly is an amazing.moment.
Thank you. This brought me so much joy. Like having a booster music appreciation course at home after a lifetime of teaching music. Beethoven may be my hero, but is not my god. I just believe everything he believes. This was a good reminder.
I like in such a technical explanation of his favorite passages he describes a passage of the sixth symphony as "mind blowing"!! The Bruckner example is truly insightful.
Dear Mr. Atkinson...if you will permit me to add my own "2 cents" to the mix, there are, to me, two incredibly gorgeous passages in B's symphonies which really brings out his true genius. The first is the counter-melody bassoon passage that accompanies the main theme of the fourth movement of the 9th now passed along to the violas, after it is first introduced by the celli and basses. Now there are two editions to this bassoon counter-melody. One has the counter-melody played by just the first bassoon. The other, my favorite edition, has this counter-melody expanded to harmonic phrasing of this melody played by first and second bassoons... stunning IMHO. The second passage I want to mention is actually my all time favorite melody of all of music: the CODA of the last movement of the 6th. I think you know what I mean! The prayer-like passage played p by the violins brings a tear to my eye every time. Yes, IMHO Beethoven was pure genius when it came to writing simply gorgeous melodies and their partner counter-melodies. Nobody, and I mean nobody, did it any better. Leonard Bernstein tried to explain Beethoven's method in writing such beautiful melodies. He first used, as an example, the main theme of the second movement of the 6th to point this method out. If you analyze such melodies as this, B's approach was simple chordal in nature. It makes some sense in that pure, simple major, and even minor chords, are the most pleasing, and, therefore, most attention-grabbing musical structures known to human-kind. I hope you find my comments here useful.
Every time someone talks to me about symphonies I say this: there are many fantastic symphonic composers out there and then there's Beethoven, a god among men.
My fondest thanks for a wonderful return to a youthful moment in my life. Your considerable work is a fine accomplishment. I'll return to following the scores of my favorite pieces. As well, it was wonderful to hear a proper discussion of the musical particulars of these sections. The musical theory is largely beyond me, but all up I can find bits that I understand. Again, intellectually engaging, challenging. Terrific!
@@Richard.Atkinson Actually when the register goes high, you got more notes you can play on the old horn, so that particular note would sound completely open. In addition, in Bach's era horns were still played without hand in the bell, so everything was played opened, of course with a "natural" intonation, much different on what we are used today (that's why this passage is played with closed-sounds even in historical esecutions)
God, you’re good! Oddly enough I’ve been listening to Beethoven intently for the past two weeks so this has helped me understand, even more, the beauty of these pieces and the genius of Beethoven (the Bruckner comparison was also genius on your part). Thank you so much for this wonderful channel.
Beethoven's symphonies are a treasure trove of beautiful passages. I also particularly like the fugal passage from the second movement of Symphony No. 3, and the theme from the last movement of Symphony No. 6, and the theme from the first movement of Symphony No. 7 (unsophisticated but pretty). Also, 11:16 cracked me up.
My favourite moment of the 5th is at the start of the recapitulation of the first movement. The bassoon countermelody, then the oboe leading in to its solo. Then of course the solo itself. But I find its held notes in the few bars after the solo to be an incredibly subtle but absolutely sublime addition.
My favorite part of the section you highlighted in the trio section of the scherzo movement of the 9th symphony is that the orange melody when it becomes fragmented as the oboes start playing in legato instead of staccato is the same phrase that Beethoven uses later on in the 4th movement to build into a triumphant restatement of the Ode to Joy theme. It's essentially a foreshadowing of the Ode to Joy theme way back here in the 2nd movement's trio section. I love that.
To me, there is nothing else that captures the same understated moodiness of the 7th. That promenade with the clarinet that you've focused on is pure contented bliss, like kind words from a friend. And that little swaying figure with the clarinet and bassoon at 23:26 is just perfect.
God, those modulations in the 6th... I've always liked that part of the movement very much (also fan of Bruckner) but now, listening to them in particular the exact moments seem so beautiful.
This video was suggested to me today. You held my full attention for an entire half hour and helped me appreciate this music even more. Thank you, I’m subscribing
There is a little known piece by him called "Taillefer", do give it a listen. It's pretty short too, about 17 minutes. Absolutely remarkable orchestration. There's video of a BBC Proms performance of it on RUclips and a relatively good quality recording on Spotify. The score is on IMSLP. Straussian humour in all its glory.
The difference between the Fifth Symphony and the Sixth Symphony is so drastic, they are like Yin(Fifth Symphony) and Yang(Sixth Symphony), and I love them both. The Fifth Symphony is mostly in minor and is very dramatic as it goes from the first movement where the fortissimo C minor is so out of control of itself that it crushes every hint of major in its path to the Scherzo where the C minor is like a fading wave and finally the bright light of C major. And it sticks mostly to keys that are closely related to C minor. The Sixth Symphony on the other hand has the minor key show up in only one movement, the Storm fourth movement. Where you would expect a minor key to show up, the development section of the first movement, you instead get hit with chromatic mediant major keys. And the entire symphony outside of the Storm movement uses these major chromatic mediants, which are pretty distant keys and they give a sort of feeling like it’s getting brighter as we get further away from F major, being at its brightest when it moves to E major in the development section of the first movement. Despite this appearance of being polar opposites, these symphonies are very connected. It’s not just time that connects them. For one thing, they both have a lot of motivic development as a basis. The interval of a third is also a strong connection that manifests itself differently in each symphony, as the Fate Motif in the Fifth Symphony and as chromatic mediant shifts in the Sixth Symphony. The way that the first movements develop their respective motives is somewhat similar, both involving breaking down to 2 notes. But the process behind said breakdown is different. In the Sixth Symphony, it’s imitation and repetition. In the Fifth Symphony, there’s a lot more harmonic, directional, and orchestrational change and it proceeds further down to single notes. Parallel relations are all over the place in the Fifth Symphony, but only really occur in the fourth movement of the Sixth Symphony.
This has to be one of your finest videos so far, and I'm thankfully deeply in my heart for this awesome selection. You are my heroe. This a fantastic and superb work of analysis. You deserve all the thanks I can possible give you, and my sincere firendship. Sometimes you job almost make me cry. Thanks for make this possible. Any word for my part, ar not enough to what yo do every time.
I am watching this video at 2 am in my bed before sleeping although I need to wake up early in the morning. I only wanted to mention how interesting your videos are and please keep up your good work!
Loved your analysis of your favorite Beethoven symphony moments, Richard. Would love to watch a Schumann symphonies video -- lots of wonderful moments in them (especially the proto-Bruckner mvmt. 4 from no. 3!).
9:52 My favorite depiction of water in the entire common-practice cannon is probably the arpeggio accompaniment of Schubert's Impromptu in G-flat major. Also, the humor at 11:16 was very Haydn-esque :P
That impromptu is one of the most gorgeous pieces, but I was unaware of any programmatic intent. Even if there wasn't any, it is similar to the undulating figures I was talking about.
@@Richard.Atkinson There is no programmatic intent, but ironically it sounds (to me at least) much more like flowing water than the Wagner or Beethoven examples.
All as familiar as the back of my hand, but thanks for shedding new light. Beethoven quite often uses unmodulated transitions to the mediant, for example in the 4th piano concerto, where the piano intro in G major is answered by the orchestra in B major. and I think something similar in the Pastorale sonata as well. In the Waldstein, C major is answered in Bb major.
Great series, thanks! For the third, I would've added a few more bars to your choice. Those triplets that were just about to start when you cut it are lovely.
True. You can watch the prior video I did of that entire movement if you'd like. The runner up for the 3rd symphony was the beautiful minor waltz-like second theme from the opening movement.
Wow! You just opened my ears when you said about the Brucknerian crescendo.... so true.... this was written in 1808, Bruckner was so influenced by Beethoven, mind you what subsequent composer wasn’t?! Liking your videos sir!
Lol Ive been thinking of making a video like this because as an uneducated occasional classical enthusiast all of beethovens symphonies have these little passages scattered about them that sound like you know them by heart since theyre so catchy and I wanted to be able to find them easily
Thank you very much for this video! In my opinion you take great and very interesting analyses. I am always excited when you discouver little details of such famous pieces.(Like you often do in this video). Also Beethoven is my favorite composer and so i have another reason to be really happy about this video.
Very impressive selection of passages what you make here, my friend. My favorite passages from Beethoven's symphonies has to do with his use of fugatti passages, as that at almost the end of first movement of the nine sympony, the brief astonishing dialogue among winds. I think that is a good subject to explore on some of your videos: the use of fugatti in Beethoven symphonies. I remember the first time I share with my musicians friends a Beethoven cycle of his symphonies, in particular that fugatto I have mentioned, and how they beign amazed by what they listen to. I remember they ususally complaint about what for Beethoven write so many things on his symphonies if that cannot listen to, but when they start to listen that version, my first complete Beethoven symphonic cycle with period instruments, the can listen so many things and so many instruments that they finally agree to say that in Beethoven times that instruments and passages it listen indeed. That cycle I mentioned was performed by The Hanover Band, and my second cycle was with Academy of Ancient Music, wich by the way at that time was almost the same orchestra that Hanover Band, but both cycles are so different that it seems two different orchestras. Recently I listen his whole symphonic cycle live at Mexico city's Palacio de las Bellas Artes with the Freiburg Barockorchester, and I discover something that is so basic that we always almost forget, and that is that a live performance with historic instruments will never can be registered on CD or any other electronic device. Its amazing all the things that the orchestra play, and the way Beethoven use as a stereo disposition of first and second violins in both extremes of the scenario: first violins at the left, and second at right, and in the middle, as a gigantic triangle, the violas, cellos and bass, and behind them, the wood wind section, the famous Harmonisektion from which he cosiders all the music must emerge. All this cannot be capture with any recording, at least with the technology we have today. So, my dear friend, thanks for all the love and effort you put on this amazing intellectual work.
You might be pleasantly surprised that fugal passages in Beethoven symphonies will be the exact topic of my next video (see the other previous comments on this video for proof that I said this before having read your comment).
As usual, this is great stuff. listen up composers - regarding a clear inner ear, that passage at 28;47 in the flute, is what ticks the box in this and sets off the endorphins. if you feel something is missing, don't publish until it's there. that's my opinion, for whatever it's worth. it's what seperates mediocrity from greatness. this passage from the 9th is what sealed my fate as a classical music lover when i was 14, putting down my beatles records once and for all. And, Karajan is the only one that creates the effect in this trio. Sublime indeed. i have always felt that this trio is as if Beethoven rockets us to the windows of heaven and gave us a look inside to feel the joy that's within. AND all with this good ole I, IV, V chords - gotta love it!!
@@brownfandango I am no stranger to the beauty and power of suspensions. However, the one in question which Mr. Atkinson has chosen is particularly subtle and nothing out of the ordinary! It has beauty, but it is a very characteristically specific moment to be the favorite of Mr. Atkinson.
@@danielzarb-cousin5945 Well, I think you got a point here. I was, however, pointing out that the power of suspensions is usually overlooked. Nothing else
The seventh is my favorite piece of music. But I like the processional first theme of the second movement over that presented. But who am I kidding? All of Beethoven's music is sublime. I would love to hear a similar lesson in select Beethoven sonatas. The third movement of the Hammerklavier, in particular, is heart-rending.
I beg to defer on your reserved view of your first movement example, it was absolutely remarkable, you can hear the brightness and optimism only found in young Beethoven, full of vigor and positive energy!
You ended on the trio to the Scherzo from the 9th. It left me with a good taste in my mouth and a cheery optimistic disposition. Danke schoen. I'd love to see a Wagner video.
One of my favourite composers is Mendelssohn. Although I feel Mendelssohn is very close to Bach, the passage from the 6th symphony you chose reminds me of the opening of Fingal's Cave with its similar modulations and motives. I was even waiting for that borrowed chord to come!
I've binge watched so many of your videos this past couple of days! I was wondering if you'd consider doing a video on either Das Lied or Kindertoten and how incredibly well orchestrated they are, particularly in relation to the unspeakable sadness they depict. Thanks for all your work!
Good choices! It must have been difficult to chose only one. I like the analysis you provide. Thanks for the explanation of the stopped notes on horns. As a horn player, I was happy to hear it explained. Re the 8th--I so enjoy the way Beethoven could change the meter without changing the time signature.
Finally someone who knows something else than the first movement of the 5th symphony. The second movement one of my favourites of all time. I completely agree with your decision, I just like the part with the loud chords (for 30 seconds only in the 2nd movement) more than the part you chose. But next time, please choose another conductor, this one was way too quick. I prefer Georg Solti for example.
BaaFoKeemb Yes, a few people have been pointing this out... I should have a baroque horn player consult for my next video to explain this 100% correctly.
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The fact that Beethoven wrote the 5th and 6th Symphonies, two dramatically different pieces, at the same, and that he composed his magnum opus, his 9th Symphony while completely deaf is a true testament to his genius.
People back then wrote music without hearing it. From a technically standpoint it not that big a deal. From an emotional standpoint, I don't know how he had rhe heart to keep going knowing he couldn't reward himself. My guess is be knew a woman would hear it, and thats all that mattered.
@@beethovenlovedmozart are you implying that Beethoven wrote music to attract women?
And it is speculated that the sketches of the Fifth Symphony were also the sketches of the Fourth Symphony cause he used similar materials(descending thirds among other things) in totally different ways and there are no sketches of a Bb major symphony in Beethoven’s sketches.
@@ignacioclerici5341Yes. He was a hopeless romantic. He spent years being in love and getting rejected. In fact one of his most famous tunes was a musical love letter for one of his students-Für Elise. It was created to be easier than his other works so that she would be able to play it.
@@calvinmark2112that doesn’t mean he “wrote music to attract women.” That’s completely ridiculous, demonstrably false and demeaning
The Sixth Symphony is one long, uninterrupted beautiful moment.
Disregarding, of course, the famous "drunken" solo of the second bassoon in the 3rd movement (probably put in the second bassoon part because Beethoven thought most first bassoonists would be too proud to play it with the proper drunkenness (and he was right!))
You couldn't describe it better
Couldn't agree more, loved it all my life
@@elleboman8465
what do you mean famous according to whom
i am intrigued
Yes it is !
11:17...... wow I was definitely not expecting that...
Sounds like he should take up a trumpet imitation career.
Took me by surprise too.
1. I like how positive all the comments are.
2. I like the sincerity with which you approach classical music.
3. You should make a video about Beethoven's Op. 111 2nd movement because holy moly that shit is sublime when the melody comes back after the sequency stuff.
I almost mentioned the "jazz variation" of that movement one time in a video but I can't remember why, which video, or what the context was.
I loved the vocal impersonation of the baroque horn! I actually laughed out loud.
Thank you for your careful curation, highlights and anecdotes of and on these passages.
You deserve a million subscribers or something. 12k is faintly ridiculous.
Ashish Xiangyi Kumar If more people would share the videos on social media, I’d have more!
Ashish Xiangyi Kumar, Richard Atkinson: Two awesome channels!
@@johnchessant3012 I wasn't aware of that channel, but now I am, and I agree!
Ashish is my channel for piano music and Atkinson for symphonies. A perfect team!
He has 13k now
Thank you for teaching me how to listen to Beethoven
These symphonies have been a part of me all of my life. I never tire of listening to them, and they speak to my soul.
Symphony No.2 always brightens my mood. To me it's the most perfect classical-era symphony.
Some people say Beethoven wasn't a romantic composer, but these exact passages precisely epitomise romanticism. Beethoven is deliriously beautiful.
21:16 That's probably my favorite orchestral moment of Beethoven's and of course 22:34 is my second favorite, hah that's why the 7th is the best symphony
You should totally do a "Most Badass Passages of Each Mahler symphony"
Or maybe the most badass moments of Shostakovich's Symphonies
Both of those ideas are on my list already - stay tuned!
4th mvnt of shost 5 👌🏼👌🏼👌🏼👌🏼
I highly approve the first suggestion
Richard Atkinson
Mahler 1st, the march in the finale
Mahler 2nd, I don't know
3rd, pretty much anything in the first movement
4th, I don't know this symphony
5th, coda of the finale
6th, the whole thing is badass, even the ADAGIO
7th, definitely the coda of the first movement
8th, idk
9th, either of the middle movements, or the transition from second to third
LvdE, the repeat (?) of the opening bars in the middle of the first movement
SilverChloride For Mahler's 2nd, it's got to be that apocalyptic brass assault about 2/3 through the first movement that ends with a dramatic punctuation by the strings. It is followed by a moment of silence, then continues to the main theme in the strings again.
Haven't read a musical score for 60 years or so.This was a rare opportunity and I thoroughly enjoyed. Anita
As a piano teacher, this is a phenomenal effort--bravo! It is so nice to be on the receiving end of this kind of instruction--makes me gain an even deeper appreciation of the symphonies. Thank you for posting.
I’ve always noticed that beautiful passage in the 2nd movement of the 9th. We are moving at such a fast pace, so much energy, and then a wash of beauty.
The 3rd probably rules above all for me, but the 5th, 6th, 7th, even 8th, and of course 9th are the best ones whenever listening to them. I say the 4th is an overlooked gem also, that broody build up to a rousing 1st movement!
Cheers for taking the time to make this, fine choices.
29:36 you are so right when you say this is the most beautiful and meaningful passage of this symphony: in Beethoven's own words, it is "the coming together of Human Kind, in perfect harmony", like synchronised breathing, Tonic - Dominant, Tonic - Dominant ...................... Finally! Everything makes sense!...... all the build-ups come together flawlessly ........ Happiness! Bliss!........ "but unfortunately, for the briefest of moments" ......... then it's over, everything comes crashing down.........Tonic-Subdominant, Tonic-Subdominant ................ and back to the anger and suffering!............absolutely divine, it brings tears to my eyes. Thank you for you work, 1.000.000.000 likes from me!
From a purely amateur perspective, I especially enjoyed your comparison to Bruckner's eighth symphony.
Whilst the technical notes go somewhat above my head, you explain things lucidly and elegantly.
Thank you.
Keep posting videos please Richard. Your video is the Gospel of us classical music fans. This comes from a fan from China.
The Trio of the Mighty 9th charmed this listener from the first, because it carries an air of mysterious hope and anticipation about it, as if the composer were quietly ruminating, “How might life be if Joy were the rule?” For a new listener who has yet to experience the Finale of the work, the effect is intended to be galvanizing, persuasive, as if Beethoven is telling us, “I have an important message for everyone, for which you must be properly prepared.” The purpose of this Trio is to plant musical seeds that will take root as Mvt. III unfolds, and burst vividly forth, quite unexpectedly, from the very first measure of the Finale.
'Really gorgeous moments in Symphony 8 are hard to come by'. The 9th's passage represents my brain trying to figure this out lol. The exp of the allegro con brio just gets me everytime i listen to it. The whole movement feels so classic but so romantic at the same time... the development is just a masterpiece of a crescendo to a seemingly not enough resolution on part A that comes bursting at the second part, now on the tonic... and the last statement of the melody to finish the movement instead of a V-I block thing just does it for me. Excluding this particular phrase i can agree with everything you said since you are the best to explain things even though they should be subjective... Another great video dude, thanks!
Not so much a "sublime moment" for me, but just a great indicator of Beethoven's immeasurable cleverness.
If you listen to the 4th movement of the 9th Symphony, you can hear that the piece opens with a wonderful, musical conversation. Different sections try to reintroduce themes from the 1st & 2nd movements-only to be harshly rebuffed by the low strings each time. Then the orchestra tries to reintroduce the 3rd movement theme, & the low strings initially go along with the sweet melody....but finally rebuff it. Then the Ode to Joy kicks in, & the low strings do the equivalent of a "yes, now that's more like it". It truly is an amazing.moment.
Yes I like that.
That sublime first example of the trio from the 1st symphony says it all. Nothing like that flowing, disarmingly simple opening was ever heard before.
Thank you. This brought me so much joy. Like having a booster music appreciation course at home after a lifetime of teaching music. Beethoven may be my hero, but is not my god. I just believe everything he believes. This was a good reminder.
Who wouldn't love that 7th one 😍 I can see it was difficult to stop the passage, but it was total worth it ❤️
I like in such a technical explanation of his favorite passages he describes a passage of the sixth symphony as "mind blowing"!! The Bruckner example is truly insightful.
Dear Mr. Atkinson...if you will permit me to add my own "2 cents" to the mix, there are, to me, two incredibly gorgeous passages in B's symphonies which really brings out his true genius. The first is the counter-melody bassoon passage that accompanies the main theme of the fourth movement of the 9th now passed along to the violas, after it is first introduced by the celli and basses. Now there are two editions to this bassoon counter-melody. One has the counter-melody played by just the first bassoon. The other, my favorite edition, has this counter-melody expanded to harmonic phrasing of this melody played by first and second bassoons... stunning IMHO. The second passage I want to mention is actually my all time favorite melody of all of music: the CODA of the last movement of the 6th. I think you know what I mean! The prayer-like passage played p by the violins brings a tear to my eye every time. Yes, IMHO Beethoven was pure genius when it came to writing simply gorgeous melodies and their partner counter-melodies. Nobody, and I mean nobody, did it any better. Leonard Bernstein tried to explain Beethoven's method in writing such beautiful melodies. He first used, as an example, the main theme of the second movement of the 6th to point this method out. If you analyze such melodies as this, B's approach was simple chordal in nature. It makes some sense in that pure, simple major, and even minor chords, are the most pleasing, and, therefore, most attention-grabbing musical structures known to human-kind. I hope you find my comments here useful.
Every time someone talks to me about symphonies I say this: there are many fantastic symphonic composers out there and then there's Beethoven, a god among men.
Danke!
@@LouieBeethoven Credit where credit is due. ;)
@@LouieBeethoven Bitte! Das hast Du einfach so großartig gemacht - die Unsterblichen Götter waren mit Dir.
Right!!!
Thank you very much in helping me to deepen my appreciation of music...learning to listen! Very clever presentation.
the 2nd movement of symphony 2 is also my favorite most beautiful suspension, million thanks
With every video, my world of classical music is broadened and nourished. Thank you for what you do.
My fondest thanks for a wonderful return to a youthful moment in my life. Your considerable work is a fine accomplishment. I'll return to following the scores of my favorite pieces. As well, it was wonderful to hear a proper discussion of the musical particulars of these sections. The musical theory is largely beyond me, but all up I can find bits that I understand. Again, intellectually engaging, challenging. Terrific!
The MOST BADASS CORNO DA CACCIA imitation ever (11:14)
I was going to use an actual recording, but I decided to grace everyone with my falsetto instead...
@@Richard.Atkinson Actually when the register goes high, you got more notes you can play on the old horn, so that particular note would sound completely open. In addition, in Bach's era horns were still played without hand in the bell, so everything was played opened, of course with a "natural" intonation, much different on what we are used today (that's why this passage is played with closed-sounds even in historical esecutions)
@@Richard.Atkinson bzzz
I nodded at almost all of your choices. One has heard these symphonies so often that it´s good that you remind us what wonderful music this really is.
One of the best YT - channels for true music - lovers. Best, AM, lutenist
God, you’re good! Oddly enough I’ve been listening to Beethoven intently for the past two weeks so this has helped me understand, even more, the beauty of these pieces and the genius of Beethoven (the Bruckner comparison was also genius on your part). Thank you so much for this wonderful channel.
Beethoven's symphonies are a treasure trove of beautiful passages. I also particularly like the fugal passage from the second movement of Symphony No. 3, and the theme from the last movement of Symphony No. 6, and the theme from the first movement of Symphony No. 7 (unsophisticated but pretty).
Also, 11:16 cracked me up.
The fugue from the funeral march of Symphony No. 3 will be in one of my next few videos (already working on it).
Richard Atkinson that fugue is one of my favourite symphonic treasures!
@@gauss193 Mine too. Just a teaser for the upcoming video: it will be entitled "Every Fugal Passage from the Beethoven Symphonies."
Richard Atkinson I can't wait to watch it!!
My favourite moment of the 5th is at the start of the recapitulation of the first movement. The bassoon countermelody, then the oboe leading in to its solo. Then of course the solo itself. But I find its held notes in the few bars after the solo to be an incredibly subtle but absolutely sublime addition.
My favorite part of the section you highlighted in the trio section of the scherzo movement of the 9th symphony is that the orange melody when it becomes fragmented as the oboes start playing in legato instead of staccato is the same phrase that Beethoven uses later on in the 4th movement to build into a triumphant restatement of the Ode to Joy theme. It's essentially a foreshadowing of the Ode to Joy theme way back here in the 2nd movement's trio section. I love that.
To me, there is nothing else that captures the same understated moodiness of the 7th. That promenade with the clarinet that you've focused on is pure contented bliss, like kind words from a friend. And that little swaying figure with the clarinet and bassoon at 23:26 is just perfect.
That moment from Symphony Seven is my most favorite moment in any Beethoven Symphony!
God, those modulations in the 6th... I've always liked that part of the movement very much (also fan of Bruckner) but now, listening to them in particular the exact moments seem so beautiful.
This video was suggested to me today. You held my full attention for an entire half hour and helped me appreciate this music even more. Thank you, I’m subscribing
I would love to see you do some Richard Strauss.
I will definitely do this in the future!
There is a little known piece by him called "Taillefer", do give it a listen. It's pretty short too, about 17 minutes. Absolutely remarkable orchestration. There's video of a BBC Proms performance of it on RUclips and a relatively good quality recording on Spotify. The score is on IMSLP. Straussian humour in all its glory.
Thank you so much. Richard. You paint my life with such beautiful colors ♥
Superb, exquisite, and heavenly magic moments in music. Love it.
That's my favourite part in the 9th Symphony!!! It's like if music would elevate me towards the Paradise: it makes me feel so light and supple 🦅
Best moment in the 8th is After your passage. Thanks for your deep work, I can only listen.
Great work! I'd absolutely love to see a video like this about beautiful passages in Bruckner Symphonies.
26:11 - I almost can't unhear Beethoven's original metronome marking here. Makes the trio even more whimsical and ingenious.
That was really wonderful. Thank You. I see you prefer slow movements. I'm glad you highlighted the sublime scherzo in the 9th.
Thank you, really. I love your work.
Also, Beethoven its my favourite composer, thank you!
13:42 My favourite theme of all time...brings back childhood memories
You're giving us so much knowledge. I'm very grateful for your work. Keep it up :D
Nice soft clear voice. Beautifully explained. Much appreciated. Thank you. 😆
The difference between the Fifth Symphony and the Sixth Symphony is so drastic, they are like Yin(Fifth Symphony) and Yang(Sixth Symphony), and I love them both.
The Fifth Symphony is mostly in minor and is very dramatic as it goes from the first movement where the fortissimo C minor is so out of control of itself that it crushes every hint of major in its path to the Scherzo where the C minor is like a fading wave and finally the bright light of C major. And it sticks mostly to keys that are closely related to C minor.
The Sixth Symphony on the other hand has the minor key show up in only one movement, the Storm fourth movement. Where you would expect a minor key to show up, the development section of the first movement, you instead get hit with chromatic mediant major keys. And the entire symphony outside of the Storm movement uses these major chromatic mediants, which are pretty distant keys and they give a sort of feeling like it’s getting brighter as we get further away from F major, being at its brightest when it moves to E major in the development section of the first movement.
Despite this appearance of being polar opposites, these symphonies are very connected. It’s not just time that connects them. For one thing, they both have a lot of motivic development as a basis. The interval of a third is also a strong connection that manifests itself differently in each symphony, as the Fate Motif in the Fifth Symphony and as chromatic mediant shifts in the Sixth Symphony. The way that the first movements develop their respective motives is somewhat similar, both involving breaking down to 2 notes. But the process behind said breakdown is different. In the Sixth Symphony, it’s imitation and repetition. In the Fifth Symphony, there’s a lot more harmonic, directional, and orchestrational change and it proceeds further down to single notes. Parallel relations are all over the place in the Fifth Symphony, but only really occur in the fourth movement of the Sixth Symphony.
You are a genius. With you, the Masters are close to our hearts and minds.
This has to be one of your finest videos so far, and I'm thankfully deeply in my heart for this awesome selection. You are my heroe. This a fantastic and superb work of analysis. You deserve all the thanks I can possible give you, and my sincere firendship. Sometimes you job almost make me cry. Thanks for make this possible. Any word for my part, ar not enough to what yo do every time.
I am watching this video at 2 am in my bed before sleeping although I need to wake up early in the morning. I only wanted to mention how interesting your videos are and please keep up your good work!
That section of Beethoven's 6th brings tears of appreciation eery time.
Wonderful, insightful, enjoyable. Each passage I listen to with new ears.
Loved your analysis of your favorite Beethoven symphony moments, Richard. Would love to watch a Schumann symphonies video -- lots of wonderful moments in them (especially the proto-Bruckner mvmt. 4 from no. 3!).
We need more Beethoven! Amazing work btw
Thank you! This is the channel I've been looking for.
I read „Beethoven“ in the title and my brain started chanting „Beet-ho-ven! Beet-ho-ven!“ 👏👏👏
I love your channel! So informative, im trying to start composing my own music!
9:52 My favorite depiction of water in the entire common-practice cannon is probably the arpeggio accompaniment of Schubert's Impromptu in G-flat major. Also, the humor at 11:16 was very Haydn-esque :P
That impromptu is one of the most gorgeous pieces, but I was unaware of any programmatic intent. Even if there wasn't any, it is similar to the undulating figures I was talking about.
@@Richard.Atkinson There is no programmatic intent, but ironically it sounds (to me at least) much more like flowing water than the Wagner or Beethoven examples.
All as familiar as the back of my hand, but thanks for shedding new light. Beethoven quite often uses unmodulated transitions to the mediant, for example in the 4th piano concerto, where the piano intro in G major is answered by the orchestra in B major. and I think something similar in the Pastorale sonata as well. In the Waldstein, C major is answered in Bb major.
Fantastic video, although I was waiting for you to analyse the 9th's adagio for the whole video :)
Sorry to disappoint!
This is really wonderful - thank you!
Great series, thanks! For the third, I would've added a few more bars to your choice. Those triplets that were just about to start when you cut it are lovely.
True. You can watch the prior video I did of that entire movement if you'd like. The runner up for the 3rd symphony was the beautiful minor waltz-like second theme from the opening movement.
Finally! You have done justice to the Red Sun Symphony! I like to call the 7th The Red Sun, because it reminds me of a long summer sunset...Thanks!
Wonderful work Richard. Thank you for sharing.
Both Beethoven and Mahler's 4th have the most beautiful adagios ever.
Agreed.
I'd like to add Bruckner's 7th
I think Corelli's Adagio in G minor from his Concerto Grosso op. 6 is a top 10.
Ullrich Herz I think you mean Bruckner's 8th ;)
Wow! You just opened my ears when you said about the Brucknerian crescendo.... so true.... this was written in 1808, Bruckner was so influenced by Beethoven, mind you what subsequent composer wasn’t?! Liking your videos sir!
Richard, you made wonderfull choices. I can understand and follow your choices and motivation. Thank you!
You make beautiful videos Richard! 😁
Lol Ive been thinking of making a video like this because as an uneducated occasional classical enthusiast all of beethovens symphonies have these little passages scattered about them that sound like you know them by heart since theyre so catchy and I wanted to be able to find them easily
I appreciate the time you put into these! I enjoy them a lot! Thank you
Thank you very much for this video! In my opinion you take great and very interesting analyses. I am always excited when you discouver little details of such famous pieces.(Like you often do in this video). Also Beethoven is my favorite composer and so i have another reason to be really happy about this video.
Very impressive selection of passages what you make here, my friend. My favorite passages from Beethoven's symphonies has to do with his use of fugatti passages, as that at almost the end of first movement of the nine sympony, the brief astonishing dialogue among winds. I think that is a good subject to explore on some of your videos: the use of fugatti in Beethoven symphonies.
I remember the first time I share with my musicians friends a Beethoven cycle of his symphonies, in particular that fugatto I have mentioned, and how they beign amazed by what they listen to. I remember they ususally complaint about what for Beethoven write so many things on his symphonies if that cannot listen to, but when they start to listen that version, my first complete Beethoven symphonic cycle with period instruments, the can listen so many things and so many instruments that they finally agree to say that in Beethoven times that instruments and passages it listen indeed. That cycle I mentioned was performed by The Hanover Band, and my second cycle was with Academy of Ancient Music, wich by the way at that time was almost the same orchestra that Hanover Band, but both cycles are so different that it seems two different orchestras.
Recently I listen his whole symphonic cycle live at Mexico city's Palacio de las Bellas Artes with the Freiburg Barockorchester, and I discover something that is so basic that we always almost forget, and that is that a live performance with historic instruments will never can be registered on CD or any other electronic device. Its amazing all the things that the orchestra play, and the way Beethoven use as a stereo disposition of first and second violins in both extremes of the scenario: first violins at the left, and second at right, and in the middle, as a gigantic triangle, the violas, cellos and bass, and behind them, the wood wind section, the famous Harmonisektion from which he cosiders all the music must emerge. All this cannot be capture with any recording, at least with the technology we have today.
So, my dear friend, thanks for all the love and effort you put on this amazing intellectual work.
You might be pleasantly surprised that fugal passages in Beethoven symphonies will be the exact topic of my next video (see the other previous comments on this video for proof that I said this before having read your comment).
Thanks a lot for the hard work you put into these videos! I would love you to visit more Brahms someday, perhaps his requiem?
Yes! Soon.
@@Richard.Atkinson Wow, thanks! :D
As usual, this is great stuff. listen up composers - regarding a clear inner ear, that passage at 28;47 in the flute, is what ticks the box in this and sets off the endorphins. if you feel something is missing, don't publish until it's there. that's my opinion, for whatever it's worth. it's what seperates mediocrity from greatness. this passage from the 9th is what sealed my fate as a classical music lover when i was 14, putting down my beatles records once and for all. And, Karajan is the only one that creates the effect in this trio. Sublime indeed. i have always felt that this trio is as if Beethoven rockets us to the windows of heaven and gave us a look inside to feel the joy that's within. AND all with this good ole I, IV, V chords - gotta love it!!
Excellent video, enjoyed very much the comparison of the Pastoral and Bruckner's 8th.
Yes, that kind of just occurred to me while making the video...
Leave it to you to choose a single beat of a suspension as your favorite moment in a symphony.
Dude suspensions are the best thing in music!
A single beat of suspension can be the most powerful moment of a symphony
@@brownfandango I am no stranger to the beauty and power of suspensions. However, the one in question which Mr. Atkinson has chosen is particularly subtle and nothing out of the ordinary! It has beauty, but it is a very characteristically specific moment to be the favorite of Mr. Atkinson.
@@danielzarb-cousin5945 Well, I think you got a point here. I was, however, pointing out that the power of suspensions is usually overlooked. Nothing else
Listen to Furtwängler's transition between the 3rd and 4th movement of the 5th symphony. Pure epicness.
The seventh is my favorite piece of music. But I like the processional first theme of the second movement over that presented. But who am I kidding? All of Beethoven's music is sublime. I would love to hear a similar lesson in select Beethoven sonatas. The third movement of the Hammerklavier, in particular, is heart-rending.
We need more of this kind of videos!
the passages from the 6 and 9 are realy amazing
Totally agree with your pick of passage in the 3rd symphony.
I beg to defer on your reserved view of your first movement example, it was absolutely remarkable, you can hear the brightness and optimism only found in young Beethoven, full of vigor and positive energy!
You ended on the trio to the Scherzo from the 9th. It left me with a good taste in my mouth and a cheery optimistic disposition. Danke schoen.
I'd love to see a Wagner video.
One of my favourite composers is Mendelssohn. Although I feel Mendelssohn is very close to Bach, the passage from the 6th symphony you chose reminds me of the opening of Fingal's Cave with its similar modulations and motives. I was even waiting for that borrowed chord to come!
At 13:54 talking about the 5th... Thank you! Such a lovely bit.
Wow, your videos are mesmerizing.
I've binge watched so many of your videos this past couple of days! I was wondering if you'd consider doing a video on either Das Lied or Kindertoten and how incredibly well orchestrated they are, particularly in relation to the unspeakable sadness they depict. Thanks for all your work!
I have a lot more Mahler videos in the works, so stay tuned!
Have you thought of ever covering some of Tchaikovsky’s works?
Yes, I will do this at some point.
Good choices! It must have been difficult to chose only one. I like the analysis you provide. Thanks for the explanation of the stopped notes on horns. As a horn player, I was happy to hear it explained. Re the 8th--I so enjoy the way Beethoven could change the meter without changing the time signature.
Finally someone who knows something else than the first movement of the 5th symphony. The second movement one of my favourites of all time. I completely agree with your decision, I just like the part with the loud chords (for 30 seconds only in the 2nd movement) more than the part you chose. But next time, please choose another conductor, this one was way too quick. I prefer Georg Solti for example.
The 8th Symphony is a grossly under-valued piece.
I love it. To me the entire 23 minutes is one single extended mockery/hommage of Haydn.
Agree! It has many beautiful moments. I adore the trio from the minuet 3rd movement, in particular the dialogue between the woodwinds and horns.
That’s true. The second is underused as well I think.
@@maxwellkrem2779 Don't agree. It is a final monument to the "Classic" style, a shout of joy at the potential beauty inherent in the form.
My favourite is the 7th.
I agree with everything else but I think for the 3rd symphony I would choose the starting theme of the second movement. it is just so... perfect.
I'm glad he explained natural horn technique but that high B in Bach he used to demonstrate is played open without the hand XD
BaaFoKeemb Yes, a few people have been pointing this out... I should have a baroque horn player consult for my next video to explain this 100% correctly.