Reflection Of The Ethoven Symphony

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.

This transition creates a large contrast in not only meter and rhythm, but also emotion. Section C is different in that its meter is the least definite. Its meter starts out very slow, clearly slower than all other sections. Slowing the meter here feeds to a more solemn expression, which is a stark contrast from the faster, fuller, and more excited state of section A. A conveys a forceful, strong expression with its fast meter and strong harmonic chords whereas B has a softer tone and slower, patient rhythm. Contrasting rhythm and meter changes help lead to an emotionally charged piece, typifying music during the Romantic Era.

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 the second and final concert report, I listened to the performance of Beethoven’s 9th symphony, as played by the Chicago Symphony Orchestra. Beethoven lived in Germany during the late 16th and early 17th centuries, and was an influential figure in the transition between the Classical and Romantic eras in western music. The performance requires a large number of instruments, with woodwinds, brass, percussion, strings, and even a choir during the 4th 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

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.

powerful and dominating to the listener’s ear. His use of only four notes to introduce his

After a minor wobble of the director stand, a few adjustments and giggles, Symphony No.1 in D major began. The first movement started off with an eerie introduction, with the first two notes morphing into a birdcall as well as main theme but a very magical sound. It made for a very soothing, romantic time. Throughout the piece I felt as if it told a story as most music does, what I came to believe it was a love story. The Allegro begins in the cello with the second Wayfarer song, “Ging heut morgen Ubers Feld,” (I Walked this Morning over the Field). With a light and happy tone in the beginning as if two lovers had just met, this was the main theme of this movement. Suddenly there was a deep, heavy part maybe one of despair in paradise but that only lasted for a short period as it came to a victorious ending of happily ever after. (Kahn)

Just so you know before hand, the lyrics to the music came from the CD with trademark of Delta Music Inc. The movement opens agitatedly as the orchestra picks up fragments of one theme after another from the previous three movements, as if seeking a satisfactory vehicle for its expression; but each is discarded in turn. The first seven notes of the main theme to come are tentatively uttered, but it too is abandoned as the search continues. Once again the theme begins, this time in the woodwinds, but it soon breaks off. Finally, the theme emerges decisively in the basses for a subdued first statement. The second statement is calm, tranquil, confident, and the theme continues onward in the various voices of the orchestra, broad and flowing. The winds make a strong statement of the theme. The flow of the music abruptly halts--there are rapid shifts--great agitation, until the orchestra introduces the baritone singing the first three lines of the poem, rejecting the feverish discords of the previous passage, calling for a different music, whose nature is suggested by the strings beneath his voice:

Ludwig Van Beethoven was one of the most influential composers of his time. The decades around the 1800’s were years of many changes and Beethoven’s new approach to music was something that reflected that. “His symphonies, concertos, string quartets and piano sonatas are central to the repertory of classical music.” This essay will focus on the historical and theoretical aspects of the third movement of Sonata Op. 28 No. 15.

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

beginning of the piece almost sounded like music that would be played in a classic horror/haunted house movie - the part where the piano plays itself! My emotions were mixed up throughout the entire piece and I tried very hard to paint a picture in my mind to what the composer was actually expressing and what kind of story was he trying to tell. “Could it be a tragic love story?”, “Could it be a story about a miserable life, a horrible death and/or the transfiguration to the afterlife?”. These were the questions I was asking myself when I listened to this classical piece. Although I could not understand the complexity of it, I still enjoyed listening to it very much. The only thing I knew was that the nickname of this classical piece was called “The Moonlight Sonata” and that the piece written by the great Ludwig van

When the performance will upcoming, no one walk around, no one to eat and chat, no one use the cell phones. On the stage, performers were wearing black clothes and shoes. They debug with instruments by themselves, or sit quietly wait for the show to start. And then the conductor makes a short description about the performance. As for this concert paper I would like to focus on Symphony No. 1 in C Major. It was Beethoven 's first symphony genre works, and linking the romantic and classical styles. It built in 1800. The main melody is based on the flute and oboe. The first movement is Adagio molto - Allegro con brio. Beginning with slow teases. The first theme of a dance, vice theme is beautiful oboe and flute repartee. After the beginning, the melody change to powerful and variation. It only a little of melody do not have harmony. In general, violin and viola play first, and then it will add flute and oboe. The second movement is Andante cantabile con moto. It is built around a simple theme of the sonata allegro musical form of development and expansion. There are a lot of decorations in main theme. The third