Beethoven No. 9 Symphony 1

As noted by Robert Hughes, "Beethoven was not only the embodiment of all that was before him, but also of that which was yet to come" (Hughes 486). The truth of this may be seen by comparing Beethoven's 5th Symphony in C Minor to Haydn, the father of Symphony, and his 95th in C Minor. While Haydn's symphony is both playful and dramatic, Beethoven's symphony is grander both in terms of scale and vision. He expands the size of the orchestra to incorporate the sounds swirling around, underlying, and depicting the arrival of Fate in a rhythm-driven, thematic symphony that takes Haydn's form and runs with it as though to the top of a mountain peak. This paper will analyze the symphonies by movement, according to form, size, structure, tonalities, melodies, orchestral sound and overall mood and effect.

The symphony is in four very powerful and entertaining movements. The first movement begins in the pianissimo tone with the strings section, but quickly enters the fortissimo tone with the introduction of the woodwind, brass and percussion sections. The dynamics of the musical melody varies throughout the movement moving from crescendo to decrescendo modes. The first movement reminds you of a raging storm from soft blowing winds to thunder and lighting. The audience is mesmerized by this first movement of the sonata.

For my first paper, I chose to write about Beethoven’s Symphony no. 6 conducted in Rome by Claudio Abbado in F Major. I chose this symphony based on the description of the symphony which is a program symphony that transfers the listener to an outdoor setting. I had not listened to Classical music since taking music class back in the sixth grade, but I am almost certain we covered Beethoven’s symphonies. Upon hearing the first fifteen seconds of the piece, I was transported back into both my middle school class and a setting where I felt like I was actually immersed in most of the feelings described in Beethoven’s words of his symphony. The symphony is a Sonata form which we learned is work written as absolute music written for a specific combination

Beethoven contributed one of the most significant musical developments through his fifth and ninth symphonies. He used a musical motive as the basic of his entire piece. (Beethoven described the motive as “Fate knocks at the door”.) It was the first time in history that anyone had done such a thing for a multi-movement piece. Beethoven’s contribution has become a norm in the music world, even to this day.

I attended Beethoven’s Ninth Symphony on October 14, at the Bass Performance Hall in Fort Worth. The Fort Worth Symphony Orchestra, conducted by Miguel Harth-Bedoya and Southwestern Seminary Oratorio Chorus, directed by C. David Keith, performed it. Ludwig Van Beethoven composed the work. He composed it between 1811-1824. Beethoven composed the work in D minor, Op. 125 (“Choral”). His Ninth Symphony was his last symphony to compose. It was preceded by eight other symphonies. I was attracted to this work because it was the first symphony to include a choral. I found it astonishing that Beethoven was completely deaf when he finished this work.

For my final project I chose to write this essay analyzing the piece Symphony No. 1 (In Memoriam Dresden, 1945) by Daniel Bukvich. There are several aspects that drew me to this piece. I originally heard this piece last summer at a concert performed here at UNI when I came to visit. I have always been intrigued by history and this song portrayed a very deep historical meaning.

Roy Harris’s Symphony No. 3 contains one movement but is identified in five sections; Tragic, Lyric, Pastoral, Fugue – Dramatic, and Dramatic-Tragic, according to allmusic.com. The duration of the piece is about 17 minutes and 12 seconds long. The orchestra starts out with violins from the Strings group of instruments creating a soft harmony and a lower pitch, this is called the “Tragic” section of this musical piece. The next section is called “Lyric”, in the beginning of the section you can begin to hear some of the Brass instruments join in with the violins and creates a broad melody. The horns and strings become louder leading into the next section – “Pastoral”. This section is the longest of the five, the woodwinds instruments enter this

Beethoven’s Seventh Symphony showed the world not only what a nearly perfect musical composition sounds like, but also the sheer relevance and absolute importance of historical context in the perception of music. Written from 1811 to 1812, the piece has to this day remained one of Beethoven’s greatest works. Beethoven dedicated the symphony to Count Moritz von Fries, an aristocrat that frequently hosted Beethoven in his more than accommodating home. The premiere for the symphony was on December 8th, 1813 at a charity concert where the proceeds went to wounded Austrian and Hungarian soldiers from the battle of Hanau. The symphony was immediately popular, winning the admiration of critiques and audiences alike. Described as the most perfect

Symphony number nine in D minor, Op.125, the "Choral" is the outstanding piece accompanied with a vocal chorus. Beethoven began concentrated work on the piece in 1822. It occupied him throughout 1823, and he completed it in February 1824. The first performance took place at the Karntnertor Theater in Vienna on May 7, 1824. The deaf composer stood on stage beating time and turning the pages of his score, but the real conducting was done by Michael Umlauf. The first American performance was given on May 20, 1846 by the New York Philharmonic under George Loder. Its performance can never be an ordinary event, just another concert, it is something special because the feeling you get inside when you hear

I choose “Symphony No. 9 in D Minor, Op. 125, "Choral": IV. Ode to Joy” composed Beethoven. I have no specific reason why I picked this song, besides the fact that I admired Beethoven when I was young. When I listened to the piece the first time I was surprised by its dynamics. In my head I have this preconceived idea that classical music was soft. I did a little research on the classical era and discovered; that music was an important part of society at the time and Beethoven was one of the top composers at the time. I was also informed that the all classical music was dynamic, the song could be quiet one minute then loud the next. In the beginning of “Symphony No. 9 in D Minor, Op. 125, "Choral": IV. Ode to Joy” it seemed to drag, and then

“He (Beethoven) was a pivotal figure in the transition from 18th century musical classicism to 19th century romanticism, and his influence on subsequent generations of composers was profound” Kerman and Tyson. Beethoven’s sixth symphony (also known as the pastoral symphony) has qualities of both the classical and romantic periods and illustrates Beethoven’s revolutionary ideas as well as highlights his classical influences. The programmatic nature of the piece is the dominant romantic feature although the use of brass and percussion as well as the dramatic dynamic changes are also characteristics from this era. However there are many classical influences in Beethoven’s work such as the balanced phrasing, the

When listening to Classical music I think of rich, precise, high-quality, and pristine music that either gives you relaxing feeling or gives you that want to dance feeling. One of my favorite composers of this era was Franz Joseph Haydn and he incorporated both of these feelings in his arrangements.

Beethoven’s symphony No. 5 in c minor, Op. 67, I has four movements allegro con brio, andante con moto, scherzo allegro, and allegro. The first movement is a sonata that contains a motif and fortissimo phases using imitation and sequence with a constant flowing melody. The second movement contains two themes in alternation. The first theme starts later followed by the second which later dies of as a third theme is born followed by fortissimo The third movement contains a scherzo and trio and is in ternary form the theme is immediately stated and continually gets revived. The fourth and final movement starts immediately after the third and is a variation of a sonata. The piece has strong cadence and recapitulates only to finish in an extremely

In 1804, L. v. Beethoven composed the Symphony No. 3 in E-flat major, Op. 55 ‘Eroica’ and

The 1st movement is in sonata form. The slow introduction to this symphony is unusual in that it begins in the subdominant key - E minor, solemnly introduced by the bassoons. It modulates into B minor and the tempo increases for the principal subject. This theme is elaborated and developed, and a march-like motif forms a bridge passage leading to a climax. The strings then introduce an amorous, song-like second subject in D major. The development section enters with a bang. This section brings no startling thematic growth or transformation, but is