00:00 Allegro con brio 07:07 Andante con moto 16:36 Scherzo: Allegro 21:12 Allegro Sorry for the sharp transition into the 4th movement. The best I could do with this particular recording.
A sharp transition makes the moment of light triumphing over darkness and all the suspense of the scherzo exploding out into joy for the final movement a whole lot better.
@@ras6300 The music itself is not copyrighted, I should have been more specific. This particular *recording* is owned by a record company and they own the rights to the recording. Many of them do not allow the music to even be uploaded to RUclips (several of my videos have been deleted because of this), others will allow them to be uploaded but RUclips automatically places ads on their behalf.
I received my first cello of my own at age 15 on Christmas Day 1969. I celebrated by listening to this wonderful symphony throughout the Holiday season, and the 2nd movement became a real favorite of mine. 50 years later as a professional cellist, it still is my favorite movement.
Beethoven's sudden transition to c major triumphantly in the 2nd movement seems to beautifully anticipate the transition between the 3rd and 4th movement. Beethoven was truly a genius.
You’re generally speaking correct, but the model for Beethoven’s 3rd-related tonal journey in this c minor symphony, from darkness to light, from conflict to resolution, et cetera, is with one minor exception, identical across all four movements to Haydn’s c minor Symphony 95. The idea of returning material from the Scherzo (Minuet) in the finale had already been done by Haydn as well in his Symphony 46. And yet another example of Haydn being a step ahead of Beethoven occurs in the E flat major piano sonata Hob. XVI:52 where the E major (sic) second movement is fleetingly but teasingly foreshadowed in the E flat first movement; Beethoven knew his Haydn. The greatest work of through-composition and cyclic integration on this sort of scale, prior to Beethoven’s 5th (1808) was Haydn’s f# minor Symphony 45 ‘Farewell’ (astonishingly 1772). One of the most important musical scholars of this period, and of the 20th century - HC Robbins Landon - has described Haydn’s c minor Symphony 52 as the ‘grandfather’ of Beethoven 5. All the Haydn models pre-date the Beethoven - strongly suggesting that Haydn was truly a genius too, and that no composers should be judged in isolation, and without some knowledge of both their contemporaries, and the past.
@@nickn2794 You are best using the indexes of books on Beethoven - and other relevant composers which in Beethoven’s case normally means Mozart and Haydn - along with scores if you can read them, and then trying to put pieces together. There is more of Haydn in Beethoven’s compositional dna than is commonly understood or acknowledged; that said, any compositional ideas he took from his former counterpoint teacher were then fully assimilated and integrated into his own very powerful musical personality. The 3rd-related journeys from c minor to C major in Haydn 95 and Beethoven 5 are as follows: 1st movement - both c minor; 2nd movement - Haydn E flat major, Beethoven A flat major (slight difference, but both 3rd-related); 3rd movement - both c minor/C major/c minor; 4th movement - C major. Similarly, the only precedents for the through-composition of a work as occurs in Beethoven 5 are to be found in Haydn. In particular, James Webster has written a fascinating book relating to Haydn’s Symphony 45 in f# minor (‘Farewell’): Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music. (Cambridge University Press, 1991). As I mentioned earlier, using the index to search Beethoven in this brilliant and detailed study will teach you much about both composers; in short, Webster explains that Haydn 45 (1772) is so completely organised as a cycle - tonal, rhetorical, motivic, et cetera - with the symphony moving through carefully prepared stages to a final apotheosis, that the only work to approach it was Beethoven’s 5th 36 years later. Generally speaking, I find it very useful to learn about one composer by searching him in the index of another - a practice I recommend highly. The literature on Beethoven is enormous, the only thing I would suggest is that until the Haydn renaissance dating from about the mid-20th century, many of the older Beethoven biographies seriously under-estimate, misunderstand or misinterpret, or though downright ignorance* dismiss Haydn’s contributions as in the case I have outlined above. More recent books on Beethoven are better as they can draw on a far better level of research, knowledge and understanding of Haydn - and complete Urtext editions - rather than just seeing Beethoven as some sort of comet that appeared in the sky out of nowhere. Hope some of that is useful. * There was no complete edition of the symphonies for example until the late 1960’s.
Well it was Anton Schindler who said that the opening four-note motif resembled 'fate knocking at the portal'. That statement tells us a lot about Schindler and the tastes and values of the society in which he lived. It doesn't, however, tell us anything about the music.
Stephen Gott Pianist They do not even know the famous ‘fate’ motif really; 9 out of 10 people if asked, could not tap out the rhythm correctly. Your partly right about the ‘...most famous music of all time’ - the opening motif of the first movement probably qualifies. However, almost all the rest of it doesn’t, and is nowhere near as famous as the final section of Rossini’s William Tell overture which is just one obvious example of something that is generally speaking, much better known.
@@Rainwang_ Try listening to the opening of Haydn’s Symphony 28 (1765); you might be interested in the little motif that opens the work, and is then developed intensively throughout the rest of the movement.
The more and more I listen, I enjoy the second movement far more than the first. For all who came for the famous first movement, I implore you to listen to the second movement.
My daughters have all been married for years now but when they were dating they would bring their friends and boyfriends to the house where they would all pass me on the way to their room. I'd almost always be sitting in the living room playing classical music at high volume. It still makes me smile when I remember the looks I'd get, confusion mixed with pity and sadness. In conversations I had with the kids years later I was told the looks were given because their friends didn't understand why I didn't listen to real music.
Strange how this piece too often heard in the media had seemed obnoxious to me, until carefully listening to the whole symphony in its display of majestic expression.
The 5th and the 9th are that way for me. They are so ubiquitous in popular culture it's hard to listen to them on their own merit without thinking of movies, commercials, etc where the music has been featured. If you can manage to do it, it's clear why the pieces became so legendary in the first place. Beethoven's "Fate" symphony really does have a lot to tell us about life.
*FIRST MOVEMENT* ✦ _Exposition_ 0:00 First subject 0:42 Transition 0:46 Second subject 1:16 Codetta 2:48 Development ✦ _Recapitulation_ 4:07 First subject 4:55 Transition 5:00 Second subject ✦ _Coda_ 5:42 *SECOND MOVEMENT* 7:09 Theme A 8:00 Theme B 9:02 Theme A var. 1 9:50 Theme B var. 1 10:54 Theme A var. 2 11:55 Theme B var. 2 13:32 Theme A var. 3 14:45 Coda Hope this helped the igcse music people out there!
just one thing the transition to second subject is called a bridge in sonata form also I like ur formal analysis (analyzing a piece's form), I listened to this for my RCM history exam and it's absolutely fire
Listen to the crescendo between the scherzo and finale from the 2nd Symphony in D-major by Sibelius. Perhaps that is only crescendo, which is comparable to the crescendo by Beethoven in this symphony.
Tim Ward Rossini churned out a string of slow-burn crescendi which appear at some point in just about every overture he ever wrote; some of them are highly effective, and pretty large scale too.
Nope. Bach and Mozart do it better. Even Brahms said it shortly before death JOHANNES BRAHMS (1896): " I always find Beethoven's C Minor concerto {the Third Piano Concerto} much smaller and weaker than Mozart's. . . . I realize that Beethoven's new personality and his new vision, which people recognized in his works, made him the greater composer in their minds. But after fifty years, our views need more perspective. One must be able to distinguish between the charm that comes from newness and the value that is intrinsic to a work. I admit that Beethoven's concerto is more modern, but not more significant! I also realize that Beethoven's First Symphony made a strong impression on people. That's the nature of a new vision. But the last three Mozart symphonies are far more significant. . . . Yes, the Rasumovsky quartets, the later symphonies-these inhabit a significant new world, one already hinted at in his Second Symphony. But what is much weaker in Beethoven compared to Mozart, and especially compared to Sebastian Bach, is the use of dissonance. Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at Idomeneo. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. What marvelous dissonance! What harmony! You couldn't commission great music from Beethoven since he created only lesser works on commission-his more conventional pieces, his variations and the like. When Haydn or Mozart wrote on commission, it was the same as their other works. " books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA134 books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA135
Overall, I have to agree with Ravel's opinion on Beethoven. Beethoven is tiresome because he relies less on harmony and counterpoint too much on rhythm and dynamics to make an expression. For example, in the 7th symphony 2nd movement, the melody is dum dum dum dum dum, later on in the movement he turns it into BAM! BAM BAM! BAM! BAM! Likewise, I find that too much of Beethoven is about BANGING, combining the orchestra (or choir) to bring out more forte. And more Fortissimo! Compared to Mozart Masonic Funeral Music K477 ruclips.net/video/4A1JlAx3vy0/видео.html the Beethoven just pales in comparison.
"Beethoven was not a great melodist. ruclips.net/video/OuYY1gV8jhU/видео.html What he was interested in was seeds, motives, things out of which he could breed melodies. This is one of the most unremarkable melodies ever written, but the most famous, but you couldn't call it a melody, could you? [Plays main 7th theme.] So far, what have we got? One note. [...] There's no aspect of Beethoven in which you can say: Beethoven is great, as a melodist, a harmonist, contrapuntist, a tone painter, his orchestration. You'll find fault with all of them. If you take any one of these elements, separately, you find nobody. There's nothing there. He spent his whole life trying to write a good fugue. And he himself admitted he never succeeded. And as far as his orchestration is concerned, you could have it. I mean, it is bad, it has trumpets sticking out, the same not drowning everybody else." -L. Bernstein
@@jackjack3320 You mean Beethoven who wrote some of the most well know, catchy, memorable melodies in the world? Fur Elise comes to mind. Allthough you are correct about his love of motives, i reccomend you check "Orchestration online"´s video on Bernstein Comment. Berstein being a bit out there towards the end of his life.
I have a collection of Beethoven symphonies by Berlin Philharmonic under Karajan and for me, it has always been the gold standard. But other orchestras and conductors did different things with this symphony. This recording is extremely solid, fast-paced and laboured through the score. It suits Beethoven, the music isn't borne easily, has its weight. Similar style persists through movements and symphonic collection.
Excerpt Timpani 1st Movement 5:18 Allegro (27 Bar Before E) 2nd Movement 8:04 Andante (A) 10:00 (B) 12:42 (D) 3rd Movement 20:32 Allegro (C) to Movement 4th 4th Movement 22:43 Finale (Before C) 23:42 (C)
A wise music professor keyed me in to the entire germ of this symphony, in the opening theme...it's not so much the "three shorts and a long" rhythm, but the intervals; major third, minor third. Will-it-be MAJOR...will-it-be MINOR...
Two c minor symphonies. Haydn Symphony 95 and Beethoven Symphony 5: First movements - both c minor; Second movements - Haydn E flat, Beethoven A flat (both 3rd-related); Third movements - both c minor/C major/c minor; Fourth movements - both C major. Both symphonies are a journey from conflict to resolution, question to answer, through 3rd-related keys - not just a minor/major thing. Additionally, the greatest work of through-composition and cyclic integration prior to Beethoven’s 5th symphony (1808), is Haydn’s ‘Farewell’ symphony (1772). Also, the idea of returning material from the Scherzo in the Finale had already been done by Haydn in his Symphony 46. The compositional technique of building large musical structures from small motifs or cells, including through-composition across four movements, is something Beethoven took from Haydn - it almost never occurs in Mozart who did things entirely differently. Haydn was part of Beethoven’s DNA. You’re wise music professor missed out more than he told you! Beethoven’s 5th is a fantastic and revolutionary work, however, as shown above, it was not quite entirely new.
@@elaineblackhurst1509 Oh, she went into all that as well! The GERM of all those third relations comes from those first 8 notes, though. Schubert's 9th, now; THAT one is worthy of study!
@@Churchcantor If you re-check my ante-penultimate paragraph, I think you will find that what you said about the ‘GERM’ I had already identified when I talked about Beethoven ‘...building large musical structures from small motifs or cells’. It’s a very commonly found technique in Beethoven, and Haydn too. James Webster has written a 400 page book on through-composition and cyclic integration in Haydn, and it is something Beethoven clearly picked up from him, and then did his own thing, as here.
26:06 - 26:23 Beethoven looking down at the beautiful view of the musical landscape he has conquered, taking time to really appreciate, before the movement continues.
@@jordidewaard2937 Yea the 4 note motif is the basis. But the second lyrical theme in the exposition is also a basis. Listen for for it all over the second movement, I mean all over.
I'm sad about the symphony because everyone knows the first movement but there are just a few people who know the other parts. I didn't use to love this symphony because of the first movement until I have listened the second movement. But now, I'm in love with it.
our professor said 8:17 was the birth of the brass section as an individual section in the history of orchestra (or at least that's how I understood what he said)
I. Allegro con brio - Huge battle against fate. Very intense, and ends with Beethoven losing. II. Andante con moto - Beethoven is in his own dream world so he can get the energy to fight again. III. Scherzo. Allegro - The huge fight resumes, and we know that only one can stand at the end of this movement. IV. Finale. Allegro - *VICTORY!*
notes for myself: GNRLI 13:32 legend being told idea STRTTRL 00:00 Esposizione e tema I Cm 00:49 Simil tema I in Eb introduce tema II in EbM 01:10 Ritorno tema I ora in EbM poi ripetizione TCN 0:02 unisono pastoso, 0:21 + potente 4:07 Tutti epico,drammatico, potente 6:43 e fine. 4:25 pausa con oboe solo sconsolato
That's very naughty. I didn't like Karajan, until I heard this taut, energetic and very accurate performance. How can one's cherished opinions survive you-tube?
Thanks youtube for ruining my experience. The transition from the third to fourth movement is genius and beautiful, and youtube had to put an ad in the middle of it. I mean they HAD to put it then and no other time or they were going to die...?
@@name-ng7mk I don't use RUclips much on my phone so there may be better options out there I'm not aware of, but I use RUclips Vanced and it gets rid of ads + lets you download videos.
![mgk - I Think I’m OKAY (with YUNGBLUD) (Sad Version) [Official Music Video]](http://i.ytimg.com/vi/7AC1uqQLIg4/mqdefault.jpg)
![Beethoven: Symphony No. 7 in A major, Op. 92 [Kleiber & VPO] (with Score)](/img/1.gif)
00:00 Allegro con brio
07:07 Andante con moto
16:36 Scherzo: Allegro
21:12 Allegro
Sorry for the sharp transition into the 4th movement. The best I could do with this particular recording.
That sharp transition makes it sound better in my opinion
thank you very much, my friend. this makes it very helpful.
Big Big thanks for this cool quality of recording!!
sharp transition makes me feel good. like you high then relax feeling.
A sharp transition makes the moment of light triumphing over darkness and all the suspense of the scherzo exploding out into joy for the final movement a whole lot better.
Isn't it a sin against humanity to put a fricking ad in the middle of Beethoven's 5th symphony
AdBlock if you're using a browser on a PC.
In-stall ad-blooooooooock
In-stall ad-blooooooooock
@raya No, it's because of the copyright. I cannot place or remove ads since I don't own the rights to the music.
@@jamisonsanchez9372 how can classical music have copyright?
@@ras6300 The music itself is not copyrighted, I should have been more specific. This particular *recording* is owned by a record company and they own the rights to the recording. Many of them do not allow the music to even be uploaded to RUclips (several of my videos have been deleted because of this), others will allow them to be uploaded but RUclips automatically places ads on their behalf.
Third movement: *thriving*
Ad: VaPiNg CoMeS WiTh CoNseQueNceS
Me: WELL GOOD THING I DONT VAPE
That's funny! 😂😂
I received my first cello of my own at age 15 on Christmas Day 1969. I celebrated by listening to this wonderful symphony throughout the Holiday season, and the 2nd movement became a real favorite of mine. 50 years later as a professional cellist, it still is my favorite movement.
After countless listens and several years, the second movement finally has become my favorite.
I WAS JUST ABOUT TO COMMENT THE ADANTE MOVEMENT IS MY FAVORITE
i like the eighth notes that sound like dun du-DUN ~ dun DAH-duuuun.......
The Finale is the best Part of this symphony.
It's not thrue. You only would seem a special connoisseur
After having PLAYED this symphony with 3 different orchestras, I will tell you that the second movement is my favorite as well!
same brother
14:09
The most gorgeous moment of the whole symphony.
Mostafa Hassan I agree, the whole 2nd movement is the best part, but this specific time, it goes so well together
@@hithere324 NO! THE WHOLE 3RD AND 4TH MOVEMENT ARE THE BEST THAN THE FIRST AND SECOND!
@@farrelpermadi5471 THEY'RE ALL GREAT!!!
yea 2nd movement is so overshadowed by 1st mvt, people only know the dun dun dun dun motif
@@fredericchopin6445 imposter, your profile is zoomed in, thats how i know your fake
The bridge between 3rd and 4th movement is heavenly
Beethoven's sudden transition to c major triumphantly in the 2nd movement seems to beautifully anticipate the transition between the 3rd and 4th movement. Beethoven was truly a genius.
You’re generally speaking correct, but the model for Beethoven’s 3rd-related tonal journey in this c minor symphony, from darkness to light, from conflict to resolution, et cetera, is with one minor exception, identical across all four movements to Haydn’s c minor Symphony 95.
The idea of returning material from the Scherzo (Minuet) in the finale had already been done by Haydn as well in his Symphony 46.
And yet another example of Haydn being a step ahead of Beethoven occurs in the E flat major piano sonata Hob. XVI:52 where the E major (sic) second movement is fleetingly but teasingly foreshadowed in the E flat first movement; Beethoven knew his Haydn.
The greatest work of through-composition and cyclic integration on this sort of scale, prior to Beethoven’s 5th (1808) was Haydn’s f# minor Symphony 45 ‘Farewell’ (astonishingly 1772).
One of the most important musical scholars of this period, and of the 20th century - HC Robbins Landon - has described Haydn’s c minor Symphony 52 as the ‘grandfather’ of Beethoven 5.
All the Haydn models pre-date the Beethoven - strongly suggesting that Haydn was truly a genius too, and that no composers should be judged in isolation, and without some knowledge of both their contemporaries, and the past.
@@elaineblackhurst1509 fascinating. Can you suggest me some books where I can find analysis like yours please?
@@nickn2794
You are best using the indexes of books on Beethoven - and other relevant composers which in Beethoven’s case normally means Mozart and Haydn - along with scores if you can read them, and then trying to put pieces together.
There is more of Haydn in Beethoven’s compositional dna than is commonly understood or acknowledged; that said, any compositional ideas he took from his former counterpoint teacher were then fully assimilated and integrated into his own very powerful musical personality.
The 3rd-related journeys from c minor to C major in Haydn 95 and Beethoven 5 are as follows:
1st movement - both c minor;
2nd movement - Haydn E flat major, Beethoven A flat major (slight difference, but both 3rd-related);
3rd movement - both c minor/C major/c minor;
4th movement - C major.
Similarly, the only precedents for the through-composition of a work as occurs in Beethoven 5 are to be found in Haydn.
In particular, James Webster has written a fascinating book relating to Haydn’s Symphony 45 in f# minor (‘Farewell’):
Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music.
(Cambridge University Press, 1991).
As I mentioned earlier, using the index to search Beethoven in this brilliant and detailed study will teach you much about both composers; in short, Webster explains that Haydn 45 (1772) is so completely organised as a cycle - tonal, rhetorical, motivic, et cetera - with the symphony moving through carefully prepared stages to a final apotheosis, that the only work to approach it was Beethoven’s 5th 36 years later.
Generally speaking, I find it very useful to learn about one composer by searching him in the index of another - a practice I recommend highly.
The literature on Beethoven is enormous, the only thing I would suggest is that until the Haydn renaissance dating from about the mid-20th century, many of the older Beethoven biographies seriously under-estimate, misunderstand or misinterpret, or though downright ignorance* dismiss Haydn’s contributions as in the case I have outlined above.
More recent books on Beethoven are better as they can draw on a far better level of research, knowledge and understanding of Haydn - and complete Urtext editions - rather than just seeing Beethoven as some sort of comet that appeared in the sky out of nowhere.
Hope some of that is useful.
* There was no complete edition of the symphonies for example until the late 1960’s.
@@elaineblackhurst1509very very interesting! Thank you for this insight
To say it's the arguably most famous music of all time It is sad that most people just know the "fait" motif and don't listen to the whole thing .
Well it was Anton Schindler who said that the opening four-note motif resembled 'fate knocking at the portal'. That statement tells us a lot about Schindler and the tastes and values of the society in which he lived. It doesn't, however, tell us anything about the music.
Stephen Gott Pianist
They do not even know the famous ‘fate’ motif really; 9 out of 10 people if asked, could not tap out the rhythm correctly.
Your partly right about the ‘...most famous music of all time’ - the opening motif of the first movement probably qualifies.
However, almost all the rest of it doesn’t, and is nowhere near as famous as the final section of Rossini’s William Tell overture which is just one obvious example of something that is generally speaking, much better known.
@@elaineblackhurst1509 Or even Beethoven's "Ode To Joy" melody, which is far more famous.
@@elaineblackhurst1509 it kinda feels as if the motif has become more of meme now ☹️
@@Rainwang_
Try listening to the opening of Haydn’s Symphony 28 (1765); you might be interested in the little motif that opens the work, and is then developed intensively throughout the rest of the movement.
The more and more I listen, I enjoy the second movement far more than the first. For all who came for the famous first movement, I implore you to listen to the second movement.
I agree, Vin- *I mean* Gustav.
My daughters have all been married for years now but when they were dating they would bring their friends and boyfriends to the house where they would all pass me on the way to their room. I'd almost always be sitting in the living room playing classical music at high volume. It still makes me smile when I remember the looks I'd get, confusion mixed with pity and sadness.
In conversations I had with the kids years later I was told the looks were given because their friends didn't understand why I didn't listen to real music.
Amazing. It’s a shame many young people don’t know these great works. I wish I had been one of those friends, I would’ve stopped and listened!
Strange how this piece too often heard in the media had seemed obnoxious to me, until carefully listening to the whole symphony in its display of majestic expression.
Yeah with context it’s great
This should not be placed as background music.
The 5th and the 9th are that way for me. They are so ubiquitous in popular culture it's hard to listen to them on their own merit without thinking of movies, commercials, etc where the music has been featured. If you can manage to do it, it's clear why the pieces became so legendary in the first place. Beethoven's "Fate" symphony really does have a lot to tell us about life.
*FIRST MOVEMENT*
✦ _Exposition_
0:00 First subject
0:42 Transition
0:46 Second subject
1:16 Codetta
2:48 Development
✦ _Recapitulation_
4:07 First subject
4:55 Transition
5:00 Second subject
✦ _Coda_ 5:42
*SECOND MOVEMENT*
7:09 Theme A
8:00 Theme B
9:02 Theme A var. 1
9:50 Theme B var. 1
10:54 Theme A var. 2
11:55 Theme B var. 2
13:32 Theme A var. 3
14:45 Coda
Hope this helped the igcse music people out there!
just one thing the transition to second subject is called a bridge in sonata form
also I like ur formal analysis (analyzing a piece's form), I listened to this for my RCM history exam and it's absolutely fire
@@l.p.1152 thanks! i made these timestamps to help with my igcse music exam lol. still not tired of listening to this on repeat... yet
@@lafox8973It would be nice if you do the rest of the symphony.
Thanks so much! This helped a lot
My favorite Beethoven symphony after his 9th. That finale gets me every time
The final is so epic, especially the development section
The fourth movement is one of the most epic moments of beethoven
Top ten epic beethoven moments
Especially that development section. goosebumps every time
The part starting at 13:58 is my favorite. Makes me emotional every time I hear it.
Well I think its very majestic But sweet too and thats so cool what Beethoven composed there!
@@redfishplayz4476 yes.
That crescendo at the end of the Scherzo into the finale is the greatest crescendo in musical history.
What about the Rheingold?
Listen to the crescendo between the scherzo and finale from the 2nd Symphony in D-major by Sibelius. Perhaps that is only crescendo, which is comparable to the crescendo by Beethoven in this symphony.
Tim Ward
Rossini churned out a string of slow-burn crescendi which appear at some point in just about every overture he ever wrote; some of them are highly effective, and pretty large scale too.
I was conducting heavily throughout the first movement
hi
I was conducting all throughout the score!
It happens to me also all the time. It's like it helps you reinforce the emotions in the notes.
who wasnt?
Why sæm
The beauty of the second movement is criminally overshadowed by the catchy four notes of the first movement.
Can't help but smile at the codas of all his symphonies. I love Beethoven's humor.
1 частина с-moll:
Експозиція:
ГП с-moll 0:08
ПП Es-dur 0:44
ЗП Es-dur 1:07
Розробка 2:48
Реприза, ГП c-moll 4:06
Реприза, соло гобоя 4:25
Реприза, ПП C-dur 4:58
Реприза ЗП C-dur 5:25
Кода 5:42
2 частина As-dur:
1 тема As-dur 7:09
2 тема As-dur-C-dur 8:00
3 частина с-moll:
ОТ має дві теми:
1 тема с-moll 16:37
2 тема с-moll 16:53
Трiо C-dur 18:14
4 частина C-dur:
ГП C-dur 21:13
СП C-G 21:48
ПП G-dur 22:15
ЗП G 22:42
1.Satz/Mvt:
0:01 Einleitung -Epigraf,
0:08 ( 0:09 , 1:32 ) Hauptsatz/First subject,
0:45 ( 0:46 , 2:10 ) Seitensatz/Second subject,
1:07 ( 1:16 ) Schlussgruppe/Codetta,
1:25 Wiederholung, der Exposition,
2:49 die Durchfuehrung/Development, 3:33 quasi Antiphonos,
4:01 -> 4:06 Reprise/Recapitulation, 4:14 Hauptsatz, 4:20 -> 4:25 Recitativo, Oboe,
4:59 Seitensatz,
5:41 Coda, 5:56 (-> 6:00 ) Entwicklung, 6:43 Epigraf-motiv, 6:52 pp ;
2.Satz/Mvt:
7:08 ( 7:09 ) 1.Thema/Theme A,
8:00 2.Thema/Theme B,
8:09 -> 8:15 -> 8:21 C dur, a la 1789,
9:02 Var.1 (1.Thema/Theme A),
9:50 Var.2 (2.Thema/Theme B),
10:25 -> 10:35 Vc.bassi a la Epigraf;
10:54 Var.3 (1.Thema/Theme A),
11:55 Var.4 (2.Thema/Theme B),
14:57 Coda;
3.Satz/Mvt:
16:36 ( 16:37 ) 1.Thema (dialogo),
16:53 2.Thema, a la Epigraf,
18:15 Trio, C dur,
19:28 -> 19:36 Reprise,
19:44 variierte Themen, 19:53 variiertes Epigraf,
20:37 -> -> ->
21:03 attacca -> ,
4.Satz/Mvt:
21:13 ( 21:14 ) Hauptsatz,
( 21:48 ) 21:49 Uebergang,
( 22:15 ) 22:16 Seitensatz,
( 22:42 ) 22:43 Schlussgruppe,
24:36 -> 24:46 variiertes Epigraf,
25:18 Reprise, Hauptsatz,
27:23 Coda ( 28:53 a la Schlussgruppe)
Nobody creates tension and relieves it like LVB.
Emotional Medicine.
Nothing beats listening and reading along. Musically speaking.
Nope. Bach and Mozart do it better. Even Brahms said it shortly before death
JOHANNES BRAHMS (1896): " I always find Beethoven's C Minor concerto {the Third Piano Concerto} much smaller and weaker than Mozart's. . . . I realize that Beethoven's new personality and his new vision, which people recognized in his works, made him the greater composer in their minds. But after fifty years, our views need more perspective. One must be able to distinguish between the charm that comes from newness and the value that is intrinsic to a work. I admit that Beethoven's concerto is more modern, but not more significant!
I also realize that Beethoven's First Symphony made a strong impression on people. That's the nature of a new vision. But the last three Mozart symphonies are far more significant. . . . Yes, the Rasumovsky quartets, the later symphonies-these inhabit a significant new world, one already hinted at in his Second Symphony. But what is much weaker in Beethoven compared to Mozart, and especially compared to Sebastian Bach, is the use of dissonance.
Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at Idomeneo. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. What marvelous dissonance! What harmony! You couldn't commission great music from Beethoven since he created only lesser works on commission-his more conventional pieces, his variations and the like. When Haydn or Mozart wrote on commission, it was the same as their other works. "
books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA134
books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA135
Overall, I have to agree with Ravel's opinion on Beethoven. Beethoven is tiresome because he relies less on harmony and counterpoint too much on rhythm and dynamics to make an expression. For example, in the 7th symphony 2nd movement, the melody is dum dum dum dum dum, later on in the movement he turns it into BAM! BAM BAM! BAM! BAM! Likewise, I find that too much of Beethoven is about BANGING, combining the orchestra (or choir) to bring out more forte. And more Fortissimo! Compared to Mozart Masonic Funeral Music K477 ruclips.net/video/4A1JlAx3vy0/видео.html the Beethoven just pales in comparison.
"Beethoven was not a great melodist. ruclips.net/video/OuYY1gV8jhU/видео.html What he was interested in was seeds, motives, things out of which he could breed melodies. This is one of the most unremarkable melodies ever written, but the most famous, but you couldn't call it a melody, could you? [Plays main 7th theme.] So far, what have we got? One note. [...] There's no aspect of Beethoven in which you can say: Beethoven is great, as a melodist, a harmonist, contrapuntist, a tone painter, his orchestration. You'll find fault with all of them. If you take any one of these elements, separately, you find nobody. There's nothing there. He spent his whole life trying to write a good fugue. And he himself admitted he never succeeded. And as far as his orchestration is concerned, you could have it. I mean, it is bad, it has trumpets sticking out, the same not drowning everybody else." -L. Bernstein
@@jackjack3320 I couldn't agree more with you
@@jackjack3320 You mean Beethoven who wrote some of the most well know, catchy, memorable melodies in the world? Fur Elise comes to mind. Allthough you are correct about his love of motives, i reccomend you check "Orchestration online"´s video on Bernstein Comment. Berstein being a bit out there towards the end of his life.
the best symphony in the history of symphonies
One of.
All of beethovens symphonies are divine
for me the best part of the 1st movement is the coda so frickin powerful man
I have a collection of Beethoven symphonies by Berlin Philharmonic under Karajan and for me, it has always been the gold standard. But other orchestras and conductors did different things with this symphony. This recording is extremely solid, fast-paced and laboured through the score. It suits Beethoven, the music isn't borne easily, has its weight. Similar style persists through movements and symphonic collection.
Cette version demeure légendaire! Merci de joindre la partition qui permet de mettre en lumière toutes les subtilités.
I love the surprise halfway through the final movement.
Excerpt Timpani
1st Movement
5:18 Allegro (27 Bar Before E)
2nd Movement
8:04 Andante (A)
10:00 (B)
12:42 (D)
3rd Movement
20:32 Allegro (C) to Movement 4th
4th Movement
22:43 Finale (Before C)
23:42 (C)
the cresendo in the 3rd movement took me by surprise!
12:05's clarinet solo melts my heart
I know right it sounds so good
Thanks for uploading!
A wise music professor keyed me in to the entire germ of this symphony, in the opening theme...it's not so much the "three shorts and a long" rhythm, but the intervals; major third, minor third. Will-it-be MAJOR...will-it-be MINOR...
Two c minor symphonies.
Haydn Symphony 95 and Beethoven Symphony 5:
First movements - both c minor;
Second movements - Haydn E flat, Beethoven A flat (both 3rd-related);
Third movements - both c minor/C major/c minor;
Fourth movements - both C major.
Both symphonies are a journey from conflict to resolution, question to answer, through 3rd-related keys - not just a minor/major thing.
Additionally, the greatest work of through-composition and cyclic integration prior to Beethoven’s 5th symphony (1808), is Haydn’s ‘Farewell’ symphony (1772).
Also, the idea of returning material from the Scherzo in the Finale had already been done by Haydn in his Symphony 46.
The compositional technique of building large musical structures from small motifs or cells, including through-composition across four movements, is something Beethoven took from Haydn - it almost never occurs in Mozart who did things entirely differently.
Haydn was part of Beethoven’s DNA.
You’re wise music professor missed out more than he told you!
Beethoven’s 5th is a fantastic and revolutionary work, however, as shown above, it was not quite entirely new.
@@elaineblackhurst1509 Oh, she went into all that as well! The GERM of all those third relations comes from those first 8 notes, though. Schubert's 9th, now; THAT one is worthy of study!
@@Churchcantor
If you re-check my ante-penultimate paragraph, I think you will find that what you said about the ‘GERM’ I had already identified when I talked about Beethoven ‘...building large musical structures from small motifs or cells’.
It’s a very commonly found technique in Beethoven, and Haydn too.
James Webster has written a 400 page book on through-composition and cyclic integration in Haydn, and it is something Beethoven clearly picked up from him, and then did his own thing, as here.
what an absolute banger tho no cap
26:06 - 26:23 Beethoven looking down at the beautiful view of the musical landscape he has conquered, taking time to really appreciate, before the movement continues.
لن تجد هنا إلا أصحاب الذوق الرفيع
One of the most magical endings in a symphony ever!
The ad in the transition between 3rd and 4th movement kills me
I really liked the 1st movement of this recording since it's fast and energetic.
And it is the most famous
Música sublime y majestuosa!!
me when youtube puts an ad in the middle of this: you just killed my vibe, thats wiggity wack yo
The last few notes of this symphony echo the opening of the symphony... Art baby!
skipping ahead of the music baby!
I mean he refers the opening on so many occassions. Do wonder where that Scherzo theme came from hehe. Same goes for opening of 4th mvt
@@jordidewaard2937 Yea the 4 note motif is the basis. But the second lyrical theme in the exposition is also a basis. Listen for for it all over the second movement, I mean all over.
@@daveloutorres9651 Ah you meant that, my b
My favorite 😔💗🗝️🍂✨
8:14 Even tho it's a beautiful movement, you got to make some noise just 'cause you're Beethoven
When a slow movement has a loud part, it is so fantastic. Like the slow movement of your ninth!
the solo at 12:04 and 24:46 up until the oboe solo scratches the brain just right
4.Satz
Anfang: 21:13 (Thema 1)
Thema 2: 21:49
Thema 3: 22:16
Thema 4: 22:44
Ende: 29:19
7:09
8:53
10:53
13:31
Beethoven used C trumpets to fill in Eb and Ab keys, very cool
Muhteşem bir eser bize güzel duygular yaşatıyor.
Karajan is the best. So glad to hear a conductor who doesnt butcher the interpretation of beethoven.
My Favorite Theme Ever The Greatest Beginning Age Music
Cello
7:09
8:50
10:35
11:30
4:59 horns like bassoons :)
no i don’t think so
Beethoven i love you, i love you
I'm sad about the symphony because everyone knows the first movement but there are just a few people who know the other parts. I didn't use to love this symphony because of the first movement until I have listened the second movement. But now, I'm in love with it.
our professor said 8:17 was the birth of the brass section as an individual section in the history of orchestra (or at least that's how I understood what he said)
My favourite part 18:15
0:37 So Brutal!
11:12 Excerpt #1
13:26 Excerpt #2
17:55 Excerpt #3
Beethoven is god of music
16:36 this is 1 of my favourite scherzos.
I. Allegro con brio - Huge battle against fate. Very intense, and ends with Beethoven losing.
II. Andante con moto - Beethoven is in his own dream world so he can get the energy to fight again.
III. Scherzo. Allegro - The huge fight resumes, and we know that only one can stand at the end of this movement.
IV. Finale. Allegro - *VICTORY!*
I think Finale still haven't victory yet, but after the 3rd movement motif was done in 4th movement, that is victory
I do my best "air conducting" to this C minor first movement!
Here the crank is at the 4th movement.
I d. epigrāfs un g.p. 0:01
bl.p. 0:45
II d. variāciju 1.tēma 7:08
variāciju 2.tēma 8:00
III d. pamatt. 17:25
vidusd.jeb trio 19:20
IV d. g.p. 21:13
00:00 Allegro con brio
07:07 Andante con moto
16:36 Scherzo: Allegro
21:14 Allegro
uva fall 2024 orchestra audition excerpt starts at 21:13
My favorite, aways love this one
Kultur and Video Star (Argentina) have this version.
Pleaseee can someone break down the 4th movement into its structural elements! Ie where is the development, recap etc
notes for myself:
GNRLI
13:32 legend being told idea
STRTTRL
00:00 Esposizione e tema I Cm
00:49 Simil tema I in Eb introduce tema II in EbM
01:10 Ritorno tema I ora in EbM
poi ripetizione
TCN
0:02 unisono pastoso, 0:21 + potente
4:07 Tutti epico,drammatico, potente 6:43 e fine.
4:25 pausa con oboe solo sconsolato
00:00, 02:11, 02:48, 04:06, 05:42, 07:07, 08:20, 09:03, 10:54, 14:57, 16:53, 18:15, 21:12, 21:49, 22:43, 24:44
Surely the best performance ever
Todos sabes el movimiento primero. Es muy emocionada
Soy bilingüe
Beerhoven is god of music
These days he would be referred to as . . A SUPERSTAR. 😅😅😅
22:13 i have heard this little melody somewhere else, can anyone help?
das kann man sich doch nicht anhöhren so gruselig
Excerpt (Cello)
18:14
That's very naughty. I didn't like Karajan, until I heard this taut, energetic and very accurate performance. How can one's cherished opinions survive you-tube?
The Beginning Age’s Beyond Very Last Chapter, The Final Film Fantasia 2000
29:10 that ending lol........
LOL
it’s EXACTLY HOW a symphony should end. Full of POWER.
@@buba4267 dont say that. Music is art, not an assignment. saying how a symphony should be is like telling Beethoven how his mind should work
Bassoon Solo 14:58
18:20
19:45
00:00 “Nobody cares!”
-Octopimp
Timestamps for my audition excerpts:
1) 26:04
2) 24:15
Finnaly
I'm surprised to see the most replayed part isn't the first movement
Thanks youtube for ruining my experience. The transition from the third to fourth movement is genius and beautiful, and youtube had to put an ad in the middle of it. I mean they HAD to put it then and no other time or they were going to die...?
Look into an adblocker for your browser ( I use ublock origin personally). It will really improve your listening experience on RUclips.
@@jamisonsanchez9372 what about on phones
@@name-ng7mk I don't use RUclips much on my phone so there may be better options out there I'm not aware of, but I use RUclips Vanced and it gets rid of ads + lets you download videos.
Sadly, RUclips purposefully lags if you have an ad blocker.
13:31 La folia di Spagna
18:20 just leaving a timestamp for myself
Awesome fugal passage innit
How to add mixed chorus, triangle, cymbals and bass drum?
7:25 Excerpt 1
12:14 Excerpt 2
I daļas epigrāfs un g.p. (no sākuma)
III daļas vidusdaļas trio (no 18:16)
IV daļas g.p. (no 21:12)
1:10
5:1
12:05
13:35
21:13
28:54 coda of 4 part
17:57 - 18:10 THAT BASS LINE OOOOOH YESSS
7:08
8:01
9:03
9:52
10:53
18:19
I feel like 15:36 is underrated.
True ! I always wait for this moment. Brahms before Brahms.
8:10 10:00 11:25 12:44 14:02
"Why is there a clarinet in the beginning?", I wonder.
The third is the best
I know where your coming from but acknowledge movement 2 a little
You can put lyrics in the second movement.
fleetwood mac the chain