Thursday, November 7, 2019
Beethovens Fifth Symphony essays
Beethovens Fifth Symphony essays When listening to any piece by Beethoven, you receive the whole range of emotions, and the Fifth Symphony is no different. Just the first four notes, a simple da-da-da-dum, is enough to send shivers up your back. Packed with all the furious confidence of Beethoven, it suggests scarlet eruptions, heavenly processions and all the powers human drama. These four notes started the memorable first movement. This movement is like a Stephen King novel because it is so saturated with intensity and suspense. The pauses leaves the audience hanging and trying to guess where the unpredictable Beethoven will lead. The peaceful intervals of swaying melodies only added to the expectancy and tension, like the eye of the storm. It was played con brio, with a confident, agitato attack. Over and over, the four note theme was twisted, turned and thrown out with gusto. Melodies from brass, echoed by strings weave in and out throughout the movement. The second and third movements were more dolce and leggiero. The second movement started with lovely dynamic shapes with phrases dropping off into a dreamy pianissimo. Then they would crescendo almost stealthily to the climax. The melody ebbs and flows, now semplice, no con fuoco. The third movement is still dolce but is more playful than the second movement. The solos pass the melodies to each other and the dynamics deliberately chase each other. In this movement, the four note theme is used as a rhythm pattern, though not necessarily the same notes. The fourth and final movement becomes revitalized and majestic. The brass echoes the theme again. This movement is joyous, like a sun bursting boldly from the clouds, symbolizing hope for humankind. With all the triumph and joy, the final resounding chords pounded and hammered out with an immortal energy. Watching the video, the excitement, vigor and enthralling rapture of the conductor and the musicians, makes the powerful music even more dramatic a...
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