What makes this symphony so captivating is the driving half tone motifs found throughout, especially in the basses and celli, especially in the last movement coda...oscillating back and forth from E to low Eb...only Beethoven could write such stuff!
This Symphony deserves a lot of love. We all know the second movement. The moment in the fourth movement using the triple forte dynamic is so beautiful.
@@orientaldagger6920 Dynamics are not absolute. It is entirely reasonable to play a fortissimo passage in a long movement at the same decibel level as a forte passage in the same movement, because the context might be different. And in the case of pieces involving many different instruments, a passage with all the instruments playing would easily have a bigger sound than one with only a few instruments, and in those two cases, even if both passages might be marked forte, it doesn't necessarily mean they have the same decibel level, similarly even if one is marked forte while th eother is marked fortissimo, it still doesn't necessitate a difference in decibel levels. Also, sforzando in the classical period and even later on was commonly used to indicate a significantly pronounced accent. In many of Beethoven's work, especially his scherzos, one might find multiple sforzando marks in a row. Sforzando is for emphasis, and does not corrospond to the relative dynamic level as forte or piano: while one might say that forte is generally louder than piano, sforzando rejects even that sort of rough generalization. TL;DR: Dynamics are not absolute and doesn't reflect decibel levels. Context matters.
@@19divide53 My point was the only spot where Beethoven marks a fff should sound different than anywhere else. Here it never happens. For that give Previn/LSO a try.
@@IAmDylanPowers The second is indeed interesting, that’s why it is so famous. But the whole piece symphony worth to be listened, especially the joyful first movement. Btw you have the same name than me :O
There seemed to be deviating sources for theses final bars. I remember when Jonathan del Mar published his critical edition for Bärenreiter, this bar was marked pizzicato at first. But he changed it back to arco for the 2nd edition no 10 years later. I have not read the critical commentary so I can't say what is correct. But when someone who publishes an Urtext Edition goes back and forth on such an issue, it could not have been as clear.
Upon hearing this symphony, Weber suggested Beethoven should probably be committed-Lol. It certainly embodies a demonic energy and drive wonderfully captured in this performance.
I understand most great composers are the humble ones who live their lives with extreme determination. But what drove Beethoven to reach this point? He used to be a pianist in his early years. But I think its when he lost his hearing was when he became more humble. He went from a grand pianist to a contained composer. Its interesting how one could never leave music.
@@GUILLOM I meant yes this is a good version but I haven't really heard a bad recording of this. It seems to bring out the best in an orchestra. Those high notes from the horns, the nice use of the flute, etc all very colorful.
![Beethoven: Symphony No. 2 in D major, Op. 36 [Böhm & VPO] (with Score)](http://i.ytimg.com/vi/sXYSBmGFVgE/mqdefault.jpg)
![Beethoven: Symphony No. 2 in D major, Op. 36 [Böhm & VPO] (with Score)](/img/tr.png)
![ลองสุ่มไอโฟน 990 โกงมั้ย? [ โกงมั้ยครับ ep.101 ] | DOM](http://i.ytimg.com/vi/bfsWe0j492k/mqdefault.jpg)
![Beethoven: Symphony No. 4 in B-flat major, Op. 60 [Böhm & VPO] (with Score)](/img/n.gif)
What makes this symphony so captivating is the driving half tone motifs found throughout, especially in the basses and celli, especially in the last movement coda...oscillating back and forth from E to low Eb...only Beethoven could write such stuff!
This Symphony deserves a lot of love. We all know the second movement. The moment in the fourth movement using the triple forte dynamic is so beautiful.
Yeah it is ashamed it doesn't sound much like a fff in this recording, no real differentiation from the ff in the first mvt.
Also not much difference btw the ff and sf in the first mvt.
It gets tons of love lol I've heard it's actually Beethoven's second most performed symphony.
@@orientaldagger6920 Dynamics are not absolute. It is entirely reasonable to play a fortissimo passage in a long movement at the same decibel level as a forte passage in the same movement, because the context might be different. And in the case of pieces involving many different instruments, a passage with all the instruments playing would easily have a bigger sound than one with only a few instruments, and in those two cases, even if both passages might be marked forte, it doesn't necessarily mean they have the same decibel level, similarly even if one is marked forte while th eother is marked fortissimo, it still doesn't necessitate a difference in decibel levels. Also, sforzando in the classical period and even later on was commonly used to indicate a significantly pronounced accent. In many of Beethoven's work, especially his scherzos, one might find multiple sforzando marks in a row. Sforzando is for emphasis, and does not corrospond to the relative dynamic level as forte or piano: while one might say that forte is generally louder than piano, sforzando rejects even that sort of rough generalization.
TL;DR: Dynamics are not absolute and doesn't reflect decibel levels. Context matters.
@@19divide53 My point was the only spot where Beethoven marks a fff should sound different than anywhere else. Here it never happens. For that give Previn/LSO a try.
I love the 4th movement most
1st and 4th are incandescent of course 🔥🔥🔥
and 2nd and 3rd@@vittoriomarano8230
At 33:53 did Shostokovich qoute this passage for the opening of his 5th symphony. It sounds really simillar
Great version of a classic in the vast ocean of western classical music!
I think this piece sounds like Mozart would live longer about 55-56 years old to compose a symphony.
I think it sounds very similar like Dvorak's symphonies. I think Dvorak inspired by it.
This is pure Beethoven and Beethoven alone...the creative genius that he was!
I love the 2cond moviment
Great version! Excellent sound and interpretation!
Legendary one.
Yes. It's very interesting, especially the second movement. I actually like all four movements.
@@IAmDylanPowers The second is indeed interesting, that’s why it is so famous. But the whole piece symphony worth to be listened, especially the joyful first movement. Btw you have the same name than me :O
0:00
2:10
1:29
2:38
3:50
4:39
5:10
5:53
8:20
10:40
11:55
12:30
13:02
13:38
14:24
15:07
15:49
16:37
18:03
18:58
19:48
20:07
20:50
21:44
22:06
23:57
24:53
26:02
27:19
28:44
30:00
30:29
31:12
31:36
33:43
34:02
35:15
36:42
35:55
this composer is good!
4:22 - Timpani 1
37:43 - Timpani 2
Interesting that at 21:34 even though both violins are marked arco they still play pizzicato. Maybe they used a different edition of the score?
There seemed to be deviating sources for theses final bars. I remember when Jonathan del Mar published his critical edition for Bärenreiter, this bar was marked pizzicato at first. But he changed it back to arco for the 2nd edition no 10 years later. I have not read the critical commentary so I can't say what is correct. But when someone who publishes an Urtext Edition goes back and forth on such an issue, it could not have been as clear.
33:59 Shostakovich
11:15 is deep
Upon hearing this symphony, Weber suggested Beethoven should probably be committed-Lol. It certainly embodies a demonic energy and drive wonderfully captured in this performance.
6:37 20:05 18:57 21:45
1 3:38
2 17:33
3 26:00
I understand most great composers are the humble ones who live their lives with extreme determination. But what drove Beethoven to reach this point? He used to be a pianist in his early years. But I think its when he lost his hearing was when he became more humble. He went from a grand pianist to a contained composer. Its interesting how one could never leave music.
Have you heard the Große Fuge?
Beethoven was everything but humble.
contained?! what!????!!!?????
Beethoven wasn't humble at all! He kicked mediocre people from his way.
3:53
6:37
21:30 aren't the strings supposed to olay that last bit with arco ?!?? 😮 Don't revel against Beethoven. He is the rebel of rebels.
I've seen scores where it's pizzicato.
😘😘😘😘😘😘😘
6:36
13:10
30:27
36:58
Finale is way too slow :(
17:58
Pourquoi avec partition ?
Hein ?
Karajan or Kleiber?
Carlos Kleiber
@@ceciliacastillo2568 agree.
Szell, Previn.(LSO)
Great version! Excellent sound and interpretation!
37:45
Great version! Excellent sound and interpretation!
Have you ever heard a bad version of this?
@@orientaldagger6920 what?
@@GUILLOM I meant yes this is a good version but I haven't really heard a bad recording of this. It seems to bring out the best in an orchestra. Those high notes from the horns, the nice use of the flute, etc all very colorful.
@@orientaldagger6920 yeah I haven't heard a version that I don't like either
16:12
16:11
16:11