Symphony No5 in C minor Of Destiny Ludwig van Beethoven

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The Hanover band conducted by Monica Huggett with instruments from Beethoven's period. • I - Allegro con brio: 0:00 • II - Andante con moto: 7:28 • III - Allegro - (attacca): 16:37 • IV - Allegro - Presto: 24:48 • Beethoven's Symphony No.5 was written between 1804-8. After finishing the third, he started to write the work, but he had to put it aside to write the fourth symphony, among many other works. The composer continued to compose in 1807, along with the sixth symphony. It was premiered on December 22, 1808, in a massive concert with only new works from the composer that lasted for more than four hours. While it was coldly received in its premiere, soon after the work was elevated to the category of masterpiece. E. T. A. Hoffmann described it as one of the most important works of all time . • With the time, Beethoven's fifth has become not only his most famous piece, but also one of the best-known compositions in classical music, as well as one of the most frequently played symphonies. Beethoven was in his mid-thirties during this time; his personal life was troubled by increasing deafness. In the world at large, the period was marked by the Napoleonic Wars, political turmoil in Austria, and the occupation of Vienna by Napoleon's troops in 1805. • The first movement is written in sonata form. It opens with the so-called fate motif , four notes over which the entire symphony is built on. As a curiosity, it was already sketched out in the final movement of the Piano Sonata No.5. Over this simple motive, a forceful and dramatic main theme is presented by the strings. In contrast. A brilliant call of the horns introduces the second theme, lyrical while still being deeply expressive. Then the themes are fully reexposed, as usual at the time. The development is intense, using contrapuntal forms to reach a powerful climax. Follows a varied recapitulation of the themes, with a brief solo of the oboe. The final coda is extensive, using the motive to generate momentum towards an energetic ending. • The second movement consist of a theme and a set of variations. Violas and cellos present a widely lyrical main theme. The first variation takes form of a majestic march, enhanced by the brass before it calms down. The second variation is more gallant and ornamented by phrases of clarinet and oboe. The third variation is more of a recapitulation of the first variation. The fourth variation is more complex and developed in terms of rhythm and counterpoint. The fifth begins with lyrical and dreamy solos of the wood, leading to a powerful tutti of the orchestra. The sixth variation takes the march element from the first and transforms it briefly. The seventh variation is a great climax based on the main theme. The eight variation is mysterious, with enigmatic phrases of the oboe and clarinet, with the strings rising excitedly. The ninth variation starts calmly, slowly rising in a massive climax. A firm and decided coda ends the movement. • The third movement is an expanded scherzo in ternary form (A-B-A'-B'-Attacca). Begins enigmatical question from the strings answered by a potent orchestral tutti with the fate motive, constructing a turbulent main theme. The trio section opens vigorously with the basses, presenting a contrapuntal vivacious theme. The final passage of the trio is contrastingly lyrical. Then follows a complete repeat of the previous material, something that most performances nowadays ignore. The scherzo and trio sections are fully recapitulated. The scherzo is recapitulated through pizzicati of the strings and phrases in pianissimo from the woods. Timpani blows start a transition in which a joyfully transformed main theme from the first movement gradually takes us to the next part. • The fourth movement is also written in sonata form. Begins with a joyful and majestic main theme, full of an exciting energy. In contrast, the second theme. The second theme is more lyrical, but still full of an astounding momentum. Follows a complete reexposure of the themes, as usual at the times. Follows an exhilarating development that combines and transforms these materials in a dramatic and even more expressive way. Suddenly, the music stops to reminisce the turbulent theme from the scherzo. The themes are then recapitulated. The coda is extensive and developed, using the material to conduct us towards an exciting coda. Representing the victory of the artist over the dark forces of fate. • Musical analysis partially written by myself. Source: https://bit.ly/2XcHRXp • To check the score: https://bit.ly/2HLEwFt

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