One interesting thing to notice: that quadruplet of demisemiquavers at 1:25 is usually played in the tempo of the following Allegro con Brio. However, in this performance it is played still in the tempo of the Adagio. It's unusual but philologically correct, as Beethoven doesn't explicitly write that those four notes should be played in the new tempo, and one should expect (as Böhm does here) that the Allegro starts on that low C.
@@canman5060 Not quite sure what you mean - in particular the Eighth had a somewhat subdued reception, especially in comparison with the Seventh, but Beethoven considered the Eighth "so much better" and "among the best" of his symphonies. Beethoven did not explicitly dislike any of his symphonies, although it's probably safe to say that his audiences best liked the grandeur of the odd-numbered symphonies: the Third, the Fifth, the Seventh and the Ninth.
What a beautiful symphony! Beethoven was a great composer. He brought about the realization that music didn't have to follow traditions or rules. He started to vary from the older music. His music acted as a bridge in between old and newer music. May he rest in peace!
You’re right to a degree, but need to read up on Haydn to understand that in many respects, Beethoven was continuing work begun by someone else. The Classical period is the beginning of modern classical music, Beethoven isn’t a bridge at all, but simply a radical musical evolution from the Classical world of Mozart and Haydn; ditto Berlioz, Schumann, Chopin, Mendelssohn, and Liszt in the next musical age.
Still very much saturated in tradition, this work shows careful orchestrating, which Beethoven tries to make as interesting as possible. A good basis for later achievements. The only thing I do not like are the many repeats.
![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)
![Beethoven: Symphony No. 8 in F major, Op. 93 [Böhm & VPO] (with Score)](http://i.ytimg.com/vi/D-snKvzL3tM/mqdefault.jpg)
![Beethoven: Symphony No. 4 in B-flat major, Op. 60 [Böhm & VPO] (with Score)](http://i.ytimg.com/vi/RveqjYSeP7U/mqdefault.jpg)
![Beethoven: Symphony No. 7 in A major, Op. 92 [Kleiber & VPO] (with Score)](/img/n.gif)
Absolutely love this Sympnony made from incandescent energy 🎼😍
Slow movement is full of dreaming tenderness ❤
The brief but perfect slow introduction to the 1st Allegro con brio seems like Beethoven saying:
"I can't wait to get into the fire games!" 🎼🎵🔥
One interesting thing to notice: that quadruplet of demisemiquavers at 1:25 is usually played in the tempo of the following Allegro con Brio. However, in this performance it is played still in the tempo of the Adagio. It's unusual but philologically correct, as Beethoven doesn't explicitly write that those four notes should be played in the new tempo, and one should expect (as Böhm does here) that the Allegro starts on that low C.
My favorite Beethoven symphony
I can't choose between this and the 8th...
@@Sh.moon. The very beginning and the relaxing moment !
@@Sh.moon. These two are the most popular amongst most of Beethoven's audiences at that time but dislike the most by Beethoven himself.
It's easy to see all the joy and energy in applying himself for the very first time in this
prominent musical form 😍
@@canman5060 Not quite sure what you mean - in particular the Eighth had a somewhat subdued reception, especially in comparison with the Seventh, but Beethoven considered the Eighth "so much better" and "among the best" of his symphonies. Beethoven did not explicitly dislike any of his symphonies, although it's probably safe to say that his audiences best liked the grandeur of the odd-numbered symphonies: the Third, the Fifth, the Seventh and the Ninth.
BEETHOVEN un genio más de la música clasica💥🙌🎄🎼
Symphony No.1 in C major is the transition from Mozart's style to a true Beethoven.
What a beautiful symphony! Beethoven was a great composer. He brought about the realization that music didn't have to follow traditions or rules. He started to vary from the older music. His music acted as a bridge in between old and newer music. May he rest in peace!
You’re right to a degree, but need to read up on Haydn to understand that in many respects, Beethoven was continuing work begun by someone else.
The Classical period is the beginning of modern classical music, Beethoven isn’t a bridge at all, but simply a radical musical evolution from the Classical world of Mozart and Haydn; ditto Berlioz, Schumann, Chopin, Mendelssohn, and Liszt in the next musical age.
6:03
23:11
1:24
1:50
En « ut majeur » ? Connais pas cet animal...
Still very much saturated in tradition, this work shows careful orchestrating, which Beethoven tries to make as interesting as possible. A good basis for later achievements. The only thing I do not like are the many repeats.
You need to read Swafford about the ‘…careful orchestration’; a composer himself, he criticises it as over-scored and is not alone in that.
@@elaineblackhurst1509 Thank you, I will try to find the source.
@@JanCarlComposer
It’s in Jan Swafford’s biography:
*Beethoven: Anguish and Triumph (2014).*
18:57