First Movement of Beethoven's Symphony No. 3 Essay

Sometimes, these two voices will overlap, creating a sense of a fugue, where two melodic lines flow at different times along the same stream. Although he breaks up the soft legato sequences with loud, harsh staccato chords for contrast, Beethoven generally preserves a milddynamic in part B which also helps obscure the switch from the transition to part B. Infact, a loud dynamic actually seems to signal a transition out of part B; in B_2’, the B_2 theme is repeated in sequence, getting louder, faster, and higher pitched until it climaxes.We expect this to become the cadence that will resolve the exposition and allow us tomove on to the development. However, it is a false ending; B_5 again resumes a moderate tempo and is played primarily by the woodwinds; the strings enter in littlespurts with loud, crisp notes until they join the woodwinds and the entire orchestra plays together to conclude the exposition.

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.

Beethoven’s Third Symphony, more commonly known as the Eroica Symphony, is a masterpiece that changed music as it was known from its first performance. It change the performance-practice of so many composers and musicians that followed after him that he has remained relevant even in today’s society. Watching Eroica-the movie and reading the article about Beethoven’s first rehearsals at the Palace of Prince Lobkowitz in 1804, I found the movie to be, in general, accurate to the evidence of what occurred during that first rehearsal as well as his relationship with Prince Lobkowitz and his general attitude, save for some dramatization that is inherent within a movie adaptation of any event.

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.

An application of Analysis of Beethoven’s ‘Pathetique’ piano sonata No. 8 inC minor, Op.13 with particular focus on musical features such as melody, thematic content, rhythm, form and structure, and harmony.

Composers since the early classical era have used sonata form to express through music ideas which are at once complex and unified. This form contains a variety of themes and permutations of these themes, but is brought together into a comprehensible whole when these excerpts reappear. Beethoven, in the first movement of his Piano Sonata Opus 2 Number 3 utilizes this form to its full potential, modifying the typical structure in his characteristic way.

The first movement of Beethoven’s 9th is quick, driving forward and at times giving the feeling of rushed urgency, while maintaining a composed majesty beneath the surface. This is reflected in the original tempo marking of allegro ma non troppo, un poco maestoso, meaning literally “quickly but not too fast, a little majestic”. The movement begins with a the strings playing intervals over a quiet string tremolo, reminiscent of an orchestra tuning themselves before a performance. This crescendos to a loud and bombastic introduction of the first movement’s main theme and the introduction of the brass section. The first movement also makes heavy use of dynamic contrast, with large crescendos that swell in time with the music and diminuendos that quickly reign in the impressive power of the full symphony orchestra. The first movement also follows a traditional sonata form, with the main theme having variations throughout the roughly 18 minutes of play time. Personally, I found the ending of the first movement

Beethoven draws the listener in by providing multiple repetitions of the short fast-slow-fast waves. As I listened, I took notes about things I felt while hearing this. I felt like each time the symphony almost mellowed out with the violins, the listener was relaxed, but then the “fast” part came which included more instruments, and I felt awakened. When all the instruments came to a perfect harmony, it was soothing and satisfying to hear. I could also instantly see the emotions painted on conductor Claudio Abbado’s face as the wave increased in volume before mellowing out

Rondo Op.51 No.1 in C major by Beethoven • Rondo: a musical form characterized by a repeated theme that alternate with other themes • Opus: a number given chronologically order the works of a composer • This rondo was composed between 1796 and 1797. • About the composer and period: Beethoven, Ludwig van (1770-1827) • Period: Classical (1750-1820)/early Romantic (about 1820/30s-1910) • Nationality: German • Contemporaries: Haydn, Mozart, Clementi • Works included: • 32 piano sonatas (including the 'Pathetique'; the 'Moonlight'; the 'Appassionata'); bagatelles, 6 sonatinas • 9 symphonies - including the 'Eroica' (3rd); 'Pastoral' (6th); the 'Choral' (9th) • chamber music - including 9 piano trios, 5 cello and piano sonatas

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.

The finally movement and my favorite of the four movements, Beethoven lets the cellos and basses 'talk' in a gruff recitative that passes judgment on the themes of the first three movements. The recitative then halts and slowly, out of this darkness, the 'joy' theme is heard. As the theme commences, the other instruments of the orchestra become involved and the theme is evolved into its ideal instrumental form. But what does

“Symphony No. 9”, better known as “Ode to Joy”, was written by Beethoven in the years 1822 to 1824. The performing forces in this piece are an orchestra, four vocalists, and a chorus. The genre of the piece is symphony. The piece is comprised of four movements. The first movement is in Allegro form. While the second movement is in Scherzo form. The third movement is in Adagio form. Finally, the fourth and final movement is in Recitative form. The key for Beethoven’s ninth symphony is D minor. The tempo changes frequently throughout Beethoven’s symphony, “Ode to Joy”. In the first movement the tempo is allegro. During the second, the tempo is molto vivace. In the third movement the tempo is adagio molto e cantabile. Then, in the fourth and final movement the tempo changes a couple of times. The tempos that appear in the fourth movement are presto; allegro molto assai (Alla marcia); andante maestoso;

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

A great contrast was found in the second movement, a hymn-like happy mediation of andante. Three phrases of the tune which was given to clarinets and bassoons, has its cadence echoed by low strings. Passages developed from the first theme then led gradually to its return in its original calm mood after a brief climax. A brief coda was made by a new and happy melody referring to the main theme.

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