Beethoven: Symphony no. 1 (with score)
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- เผยแพร่เมื่อ 29 มิ.ย. 2024
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ACO/Tognetti
this is something i made for myself to help me study the piece. i hope you enjoy it too! the musicians are listed at the end of the video if you're curious as to who is playing.
Adagio molto - Allegro con brio 0:00
Andante cantabile con moto 8:38
Menuetto, allegro molto e vivace 14:15
Adagio - Allegro molto e vivace 18:26
because of the unusually high number of people clicking on this video, it's worth spreading a positive message during these difficult times, so i'll just remind people of the following things:
black lives matter, trans rights are human rights
wear a mask and get a vaccine if you can!!!
take care of one another, look out for your friends and family, do something nice for someone special in your life ❤️ - เพลง
![Beethoven: Symphony No. 1 in C major, Op. 21 [Böhm & VPO] (with Score)](http://i.ytimg.com/vi/7dC72MiKASM/mqdefault.jpg)
5:39-6:08 I remember hearing this for the first time and being blown away by how beautiful it was. It was literally the moment that made me fall in love with Beethoven's music.
Especially 5:59
The Development section is usually where Beethoven really takes things to the next level. The development section in this was short, but you could definitely hear Beethoven's unique sound come through here
@@nloc1929
You’re quite right, though it has to be said as well that in Beethoven - like Haydn from where he got it, but not Mozart - there is actually development throughout, often almost from the first bars.
I feel like the first and 4th symphonies are bookends. Similar in shape
20:40 love the syncopated sforzandi.
you would think that it would occur to advertisers that if they annoy people by not waiting for a gap in the music their advert might make them not so likely to endorse their product
Yes, surely a counterproductive strategy.
I know right. It's so dumb.
Not only do I not endorse their products, but I specifically buy their competitors' products just for spite...yeh, that'll teach them to trample over my Beethoven!
@@thejils1669this is probably the algorithms agenda too lol
Imagine it the year is 1799 you and your lads just got tickets to see Beethoven. An hour in he turns to the crowd and yells.. ARE YOU READY FOR THAT UNRELESED SHIT... drops this..
Crowd looses their fucking minds
I'll never forget this one. I was playing the 2nd Violin section. Then I transferred to the Viola, and this was the First Symphony I played. 3 lessons on how to read Alto clef. A permanent memory for me.
17:06
What a fantastic version with Richard Tognetti and the Australian Chamber Orchestra! I'm truly blown away, so lively, fresh and crisp!
Beethoven's worst symphony is still better than 99% of other symphonies from the period.
Now that isn't just a good first symphony, that is an AMAZINGLY PERFECT FIRST SYMPHONY!!! Thank You!
I love that I have the same pleasure from playing this peace as from listening to it. It brings happy memories!. Thanks for uploading :)
A gorgeous symphony.
Great performance,
With the baton of a
great conductor.
I've been listening to the first movement for days straight now. What a genius. Should have discovered this sooner!
I just about had a heart attack when I realized this was live. Amazing playing!
? what...? Of course it's live, I would have had a heart attack if I had realized it was samples. Do you really think you can get this sound with samples without WAY too much effort? And even then it won't sound perfect.
@@asukalangleysoryu6695 I am pretty sure, evoMusic didn't mean it like you understood it. ;) it was definatly not about samples or no samples, the comment is about that it is a live concert (recording), as you can hear at the end.. and not a studiorecording. :)
me too, the applause almost made me fall off my chair.
Only in the comments section of classical works do you find misunderstandings to this level of contempt and stupidity.
The applause started before it was finished, because they didn't know about that empty bar at the end.
Thank you. I am preparing to play this piece with an orchestra and the score tracking has allowed me to better recognize my place in the piece and associate my part with the large composition.
The first movemet was the most hypes shit ive ever heard
1:33 🤘🤘🤘🤘
@@indioduran4535 get a fucking brain
the both of you
@@vayhn 🙁
@@vayhn let people enjoy music how they wish
18:31 Sounds like about to sneeze.. ah..ah .. ahhhh CHOO!
haha
That spiccato in movement four is really impressive
Creo que es la mejor interpretación de la primera sinfonía que he escuchado.
Yo tambien, la orquesta tiene profundidad en la musica
great music and awesome description dude
SOMEONE COUGHED AT 6:15 LMFAO 😭😭☠️
Beethoven forever Beethoven......
Went to symphony concert not too long ago. They did this and Slayer's Raining Blood. Good program. Enjoyed it.
Che interpretazione!! grande Beethoven
Symphony
1800-1801
N/A
Musical characteristics
Opening cadence in F maj (subdominant of the actual key C major) - Beethoven is teasing the listener
Sonata form
Conversational texture, periodic phrases
Mannheim rocket in first theme
Themes are developed all the way to the end and interwoven throughout (vs other composers might have them return verbatim)
Some good guidance points for listeners, though the date could be more precise - we know the first performance of this symphony was 2 April 1800.
The idea of the opening chords you mention is clearly lifted from the opening chords of Haydn’s string quartet Opus 74 No 1, though Beethoven’s as you say are off-tonic (though that was another Haydnesque trick).
Two other things I would note:
i) The orchestration and use of the wind and brass instruments in particular here is very different from that of his two greatest predecessors Mozart and Haydn (it is in fact, arguably over-scored, something Beethoven noted himself and corrected in future works);
ii) The third movement really is a brand new one-in-a-bar Scherzo, a very different thing from the Allegretto-type Minuets of Mozart (Symphonies 39, 40, 41), and even the Allegro molto of Haydn’s fastest Minuets (Symphonies 28, and 94).
The only thing I might suggest is that often Haydn’s themes in particular do not return ‘verbatim’ (they are often varied, and sometimes re-scored), but in general, you make a good point about Beethoven’s endless development throughout a movement which is another very characteristic Haydnesque compositional technique that Beethoven noted, and then adopted in own way.
Mozart: I am the greatest classical composer
Beethoven: Ima pretend I didn't hear that.
He wasn't pretending
@@jagp135 lmao
Neither Mozart nor Beethoven - Haydn either - would ever have had any such conversation.
Beethoven fully appreciated the achievements of both his two greatest predecessors: Haydn predicted that Beethoven would take his place as one of the greatest of composers, and Mozart probably would have done so as well, though did not live long enough to ever meet Beethoven.
LOL, because Mozart IS. Beethoven is a romantic.
Vivaldi: PTF... Beginners.
Imagine what it was like for the first audience. This work introduces what we now know as 'typical' Beethoven .. and you don't have to be a musicologist or even a musician to realise this was revolutionary even today. My favourite bit is the Menuetto ... which of course was perhaps the first 'Beethoven scherzo'. No one wrote music like Ludwig
Louis Ferdinand of Prussia wrote music like Ludwig. Only 13 works though.
@@classicallpvault8251 Any youTube videos of his music? I think some Hummel piano stuff sounds like Ludwig but I haven't heard any orchestral stuff
Beethoven 1 is very new as you say, but it is not ‘revolutionary’ because it does not destroy its immediate predecessors Mozart and Haydn; it is however a significant radical evolution of the form.
Just one example to illustrate: the opening chords are clearly modelled on the opening chords of Haydn’s string quartet Opus 74 No 1, but done slightly differently for example by being off-tonic (in other words, it’s an evolutionary step, exploring things in a different way, but it’s not ‘revolutionary’).
So beautiful
Great dynamic of Beethoven
This is so helpful!
This music is beautiful!
Hermosas Melodías☺️♥️
I like this kind of music .
As a drummer, I don't know anything about classical music but knew to give Beethoven the utmost respect.......now I just heard a tid bid that he was *EIGHT??* when he wrote this?!
Absolutely unbelievable
Beethoven didn’t compose this at 8 years old. It was composed between 1795-1800, so at the time of completion Beethoven was 29 years old. It was Mozart who wrote his first symphony at 8 years old in 1764.
@@ruslans2006 bloody hell, now I gotta go down another rabbit hole, I can't fathom how these brilliant minds work
@@WhyForWhatNow Well, Mozart was talented at an early age, because his father Leopold Mozart had been giving Mozart musical education since at least the age of 3.
@@ruslans2006
Leopold Mozart was responsible for teaching the very young Mozart the mechanics of music, the initial musical grammar if you like, how instruments worked, and such like.
The early European grand tour of 1763-1766 by Wolfgang and his sister was more about Leopold exhibiting his two precocious children as performers than about teaching them anything; it was on the London leg of this tour from April 1764 to July 1765 that Wolfgang met JC Bach whose impact on the boy - after the rather staid and overbearing influence of his father - was so explosive it remained with him for the rest of his life.
Put simply, not a note of Mozart’s music reflects any influence from his father, whilst JC Bach hovers over much of it.
I LOVE IT
Masterful yet I feel a hint of of shyness from beethoven with this. Later works would inject that passion that eventually revolutionized classical music at the same time.
Good description and beautiful music
This really sticks to major harmonies throughout, very unusual for Beethoven. Usually, I would expect a significant portion of the piece to be in a minor key. He even uses parallel harmony for a significant portion of his compositions(like suddenly going from C major to C minor).
This is before he adopted that style. This is still early Beethoven and is taking allot from classical form. (Namely Mozart)
@@usernotfound6475
In terms of general compositional technique, there is rather more of Haydn in Beethoven’s DNA than there is of Mozart.
Additionally, Beethoven in general avoided the areas of Mozart’s greatest achievements such as opera, chamber music other than string quartets, piano concertos; instead, he concentrated on those areas where Haydn set the challenge - the symphony, string quartet and the sonata.
Beethoven took much, but in totally different ways from both Mozart *and* Haydn - the two composers who defined the Classical period; it was Beethoven’s great achievement to find a new voice for the new century.
@@usernotfound6475 Bingo. Until we get to the Eroica, Beethoven sticks to that heavy classical influence. When we get to number V, all bets are off. The Romantic era was starting to bloom at that point.
@@elaineblackhurst1509 and he did it in a way Haydn would’ve never dreamed of. Haydn symphonies were fifteen minute strict form affairs. Wonderful nonetheless, but nothing compared to what the Symphony would become. Brahms, Beethoven and Mahler would craft entire worlds in their symphonies.
@@justincombs7433
I don’t agree with your comments on Haydn which are unfortunate, perhaps reflecting a lesser knowledge and understanding of the composer compared to what you know about Beethoven.*
What I do think is that even from his very first published works - the piano trios Opus 1, the piano sonatas Opus 2, the Symphony 1, and string quartets Opus 18 for example, Beethoven is clearly moving all forms of music in a totally new direction from where it had been left by Mozart and Haydn.
This is the true greatness of Beethoven, but it is not fair to criticise Haydn for not being like Beethoven, in the same way that it would be ridiculous to criticise Beethoven for lacking the intimacy of Schubert, or for not writing music like Rossini, Weber, or Berlioz.
Beethoven could never have managed a Symphonie fantastique, music he ‘…would’ve never dreamed of’, but is he no lesser a composer because that is so.
* I believe it’s extremely difficult for anyone to have a proper understanding of Beethoven, and to be able to speak meaningfully about his music, without a proper knowledge and understanding of Haydn and Mozart in particular, but other composers from the past whom he studied as well.
Great Recording! I think Beethoven would have loved this. Detailed without being careful, passionate without being sloppy. Whenever I listen to this I think about how amazing that must have been to hear for the first time, that is if you could keep up with all that is going on. Sometimes you think...well maybe Beethoven is overrated in the history of music...nah.... He IS the composer everyone wants to become. The 4th Movement reminds me of a Bach Toccata.
Timothy Simpson
Bach toccata?
It’s closer to Scott Joplin than to anything in Bach!
He really was
Beethoven evolved so much between 1-5 that we literally entered a new era of music. When the first four notes of the 5th sounded, the previous era of music shattered.
His early symphonies (while still Beethoven) have heavy Mozart and Haydn influences. But yes, he’s in the top tier of composers with Bach and Mozart for sure.
Whoever thinks Beethoven is overrated in music, has no clue. None. The Fifth and the Ninth alone cement his rightful place in music history as one of the fathers of western classical music. Land that’s not even counting his choral and string quartets (which are a cornerstone of string repertoire).
Many musical scholars, including Bernstein, say he’s the best (I nod to Bach for that, but he’s in my Triumvirate).
Simply put. Beethoven is often underrated.
@@justincombs7433
The shattering probably happened with the 3rd symphony which broke the mould of even the biggest Classical symphonies of Mozart and Haydn; the 5th was just another radical evolution of the symphony away from the Classical model.*
Note:
Haydn Symphony 95 in c minor (1791).
1st movement: c minor,
2nd movement: E flat major,
3rd movement: c minor/C major/c minor,
4th movement: C major.
Beethoven Symphony 5 in c minor (1808).
1st movement: c minor,
2nd movement: A flat major,
3rd movement: c minor/C major/c minor,
4th movement: C major.
The journey from darkness to light and from conflict to resolution, from c minor to C major, in 3rd-related keys is almost identical - the Beethoven is clearly modelled on the Haydn.**
Additionally, the idea of returning the Minuet/Scherzo in the finale had also already been done in Haydn’s B major (sic) Symphony 46.
That said, Beethoven 3 is a fantastic, new type of symphony that is a radical evolution of the form; just be careful with the hyperbole, the germ of a number of Beethoven’s ‘new’ ideas clearly came from Haydn, indeed the musicologist and scholar HC Robbins Landon suggests that Haydn’s c minor Symphony 52 is the grandfather of the 5th.
* I actually believe Beethoven broke with the Mozart/Haydn model more than is usually credited as early as his 1st symphony, though this is not a particularly widely held view.
** There is also a powerful case to be made for Beethoven being very aware of Haydn’s highly experimental Symphony 45 in f# minor (‘Farewell’) written in 1772, which is the greatest work of through-composition and cyclic integration prior to Beethoven’s 5th in 1808.
Ignorance is a disease, hope you feel better, bed rest helps
MASTERPIECE! UNBANNABLE!
Langsame Einleitung: 0:00-1:11
Exposition:
Hauptsatz: 1. Thema (Hauptthema) in der Tonika: 1:12 (Wiederholung: 3:07)
Beginn der Überleitung (modulierend zur Dominante): 1:36 (3:30)
Seitensatz: 2. Thema (Seitenthema) in der Dominante: 1:59 (3:53)
Seitensatz: Schlussgruppe, Bestätigung der Dominante: 2:41 (4:35)
Durchführung: 5:00
Reprise: 6:17
Hauptsatz in der Tonika: 6:17
Beginn der Überleitung (nicht modulierend): 6:29
Seitensatz: 2. Thema (Seitenthema), bleibt in der Tonika: 6:49
Seitensatz: Schlussgruppe, Bestätigung der Tonika: 7:29
Coda: 7:50
Thanks!
This is really really useful. Can you make one for every other major work please?
Who looks at the manuscript while listening?
Благодарю вас...с нотами быстрее выучил...!!!
Hermosas Melodías☺♥
Please post more videos @OrganisedSound ! These are very good!
Who is the conductor?? Amazing and enlivening rendition!
i like the part where they play the music
THIS SHIT SLAPS THO
Stupid ads that totally interrupted the 4th movement!!!
You can skip the ads if you skip to the end of the video and then press the restart button
@@isaacanwarwatts8844 que buen hack 😉
then go and buy this recording if you don't like having it for free
@@DaveDexterMusic yes, you can say that but still. Let the ads be in between of the movements, that is acceptable for me, but when you´re enjoying the movement, it completely ruins it. :/ Every musician feels it.
wassamatta you never heard of free ad blockers? (!!!)
Pas mal, je pense que le jeune homme qui a composé ceci a de l'avenir.
I'm already a Beethoven (and classical) music fan, and then seeing the stuff in the description has further increased my respect for this channel!
🔥🔥🔥💎💪❤️
Played this in my car.
Now it's on fire.
This shit straight bangin
Tempi check (let me know if values, working out etc. are incorrect).:
1. Intro :Eighth=88, common time so 11 bars/minute. There are 12 bars so they should be played in 1 60/11 minutes = approx. 1.2 minutes or 1:12 (spot on, this is what got me in to calculating all the written tempi and whether that's the tempo of the actual recording).
Allegro: Half=112, also common time so 56 bars/minute. There are 384 bars so they should be played in approx. 6.86 minutes or 6:56, but this takes: 7:26 to play (30s, 1/2 a minute too slow).
2. Adagio: Eighth=120, 3/8 so 40 bars/minute. There are 256 bars so they should be played in 6.4 minutes or 6:24 but this takes 5:37 (47 seconds too fast).
3. Entire movement (both menuetto and trio): Full bar of 3/4 time=108 (that many in a minute). There are 137 bars so this should take approx. 1.27 minutes or 1:16, but this takes 4:11 (2:55 too fast).
4. Intro: Eighth=63, 2/4 so 15.75 bars a minute. There are 5 bars so they should be played in 5/15.75 minutes or approx. 32 secs, but this takes 23 seconds to play (9 seconds too fast).
Allegro: Full bar of 2/4=88 (that many in a minute). There are 392 bars so they should be played in 392/88 minutes or 4:27,, but this takes 6:34 to play (2:07 too slow).
It's just a coincidence you can tell apart section durations from the rest, given that they look like timecodes for the video (they're not meant to be represented as such).
Do you know something called "director" and his work as a living metronome? I mean the musicians have a score, but the director have de direction and the artistic sense so...
@@diesirae9223 I don't know what that means. This comment was just comparing the sheet music vs recording tempi, recognising personal opinions and the like.
magine it’s 1799 an you buy tickets to see Beethoven.
He gets up on stage and says “WHOS READY FOR SOME OF THAT UNRELEASED SHIT?”.
Then this just starts playing and the crowd loses it.
wow, magine should be a word. it looks like it should be an emotion, like the word 'magine' just means nonchalant or something.
I 0:00
II 8:39
III 14:17
IV 18:28
Anybody knows which orchestra is playing and who's the conductor?
bardzo ładne
I feel like movement four is really where Beethoven starts to become his own composer, really doing his own thing instead of trying to have the style of those who came before.
I believe Beethoven’s Symphony 1 is more of a radical evolutionary step than it’s normally credited to be, and these change do not have to wait for the fourth movement.
In spite of its disingenuous label (Menuetto), the third movement* is clearly a brand new one-in-a-bar Scherzo; Beethoven ‘…starts to be his own composer’ here, and actually in several other places as well, beginning with the innovative off-tonic opening chords (even though the essential idea was borrowed from Haydn’s string quartet Opus 74 No 1).
The key to understanding Beethoven 1 is the *context.*
When placed next to his other symphonies, it appears the most ‘Classical’ and conservative of the nine; placed next to Mozart and Haydn then these adjectives simply won’t do - it’s clearly a radical update of the form.
Put another way, rather than being tagged on the end of Mozart and Haydn at the dusk of one age, Beethoven’s first symphony is better viewed as being something new at the dawn of a new post-Classical age, at the start of a new century.
* This genuine one-in-a-bar Scherzo movement is a radical new innovation by Beethoven.
Haydn’s fastest Minuets got up to Allegro molto in Symphony 28 (1765) and Symphony 94 (1792) but they remain essentially three in a bar Minuets.
None of the Minuets in Mozart’s symphonies -including the last three in 1788 - get even beyond the Allegretto-type.
Note for myself:
1:13
5:35
6:42
1:13
14:16
8:58 - for any of my fellow violinists auditioning for CODA honors this year :,)
👏🏽👏🏽👏🏽👏🏽
4:56
7:19
7:42
22:51
23:06
18:51
What a powerful and beautiful piece of music.
Dislike
@@alexprado5112
Ok
Love the description ❣️
Yes !
Fantastisch! Wer dirigiert??
5:55
1:12, allegro
thank you for this vid comrade 1312
As anyone might guess, this is certainly the most conservative of the Beethoven symphonies, but it doesn't make it any less attractive, and already we hear Beethoven's expertise in woodwind writing.
I get your point, but be wary about accepting and propagating the generalised received wisdom about this symphony regarding it being ‘…the most conservative’, which it is compared perhaps to the eight that followed, but not in the context of what went before.
I’m not sure it’s as Classical - ie in the Mozart/Haydn mould - as many suggest; Beethoven 1 is clearly at the dawn of a new post-Classical world, not something tagged on to the end of that of Mozart and Haydn.
To take just three examples:
i) The opening off-tonic chords never occur in Mozart or Haydn* (even though the idea is clearly lifted from Haydn’s string quartet Opus 74 No 1)
ii) Really not sure how you can describe the third movement of Beethoven 1 as ‘…conservative’.
Though disingenuously labelled ‘Menuetto’, it is clearly a fast, brand new one-in-a-bar Beethovenian scherzo and it is a radical evolution of the symphony as important as any found in the other symphonies.
Haydn had got the Minuet up to Allegro molto in Symphonies 28 and 94, but they they were fast Minuets, not Scherzi; Mozart never got any of his Minuets any quicker than the Allegretto-type.
iii) With reference to the scoring of the first symphony, it is indeed new again, being neither Mozartian nor Haydnesque, but it is slightly clumsy, gauche even.
However, once you get past the novelty, listen again; the first reviewers in Vienna referred to it as novel; they complained about some of the scoring.
The important and influential music journal Allgemeine Musikalische Zeitung reviewer is quoted on p243 of Jan Swafford’s** biography of Beethoven (2014):
‘In the symphony he finds ‘very much art, novelty, and a wealth of ideas. However, the wind instruments were used far too much’.
That means he found the symphony overscored - which, on the whole it is’.
In short, the first symphony actually demonstrates a lack of expertise in writing for woodwinds - the opposite of what you suggest in your comment; Beethoven fixed the problem in all subsequent symphonies.
Hope yourself - and anyone else passing by - finds something of interest in there perhaps slightly alternative thoughts.
* Though tonal ambiguity as in the opening of the b minor string quartet Opus 33 No 1 or second movement of Opus 76 No 6 is a Haydnesque trait picked up by Beethoven.
** Swafford is a composer himself, and knows what he is talking about.
If you're in Aziz's class. Measure 110 (Beginning of the Development) begins at 4:57
Yo I'm in Aziz's class thanks for the tip my dude helped a bunch
Probably doesn't matter, but I think it actually starts at exactly 5 minutes in.
I wish this had measure numbers for my form and analysis project :3
I like your description, mate
This symphony always had a wierd way of starting for me. Sounds like a middle part. But I love the genius of Beethoven.
Big ol Authenic Cadence (V-I). About as standard as you can get, but not at the very start of a symphony. But that’s how Beethoven rolled. Lol.
His first couple of symphonies are still very classical. Refined. Hints of Mozart and Haydn. Then we get to the Eroica. And of course when the first 4 notes of the Fifth sounded, music changed forever.
Beethoven is easily in the top tier with Bach and Mozart for influence. Mahler and Brahms follow very closely behind. But there’s always something about Beethoven, that just makes the soul stir a little harder.
@@justincombs7433
Some interesting points.
You’re right about the opening chord of this symphony (1800) but wrong not to mention the identical opening of Haydn’s string quartet Opus 74 No 1 (1793) which is clearly the model; if ‘Beethoven rolled’, he was copying Haydn.
Lol.
You’re second sentence starts well then again misses the fact that the well-known ‘Fate’ motif is second hand; it was used by both Mozart and Haydn.
You will find it in a rather ominous and haunting form in the first movement of Haydn’s piano sonata Hob. XVI:49 for example.
Also, perhaps most astonishingly, the take a look at first movement of the early Symphony 28 (1765/66) where the identical ‘Fate’ motif is given an intensive working-out - indeed obsessive pounding - of almost Beethovenian proportions.
Mozart’s Piano Concerto No 25 (K503) has a very similar motif that appears as early as the orchestral opening.
Though the rhythms are different, Beethoven would have known the very ominous and fateful timpani strokes in Haydn’s Missa in tempore belli; Beethoven described Haydn’s masses as ‘…incomparable masterpieces’ (rare praise indeed), but the opening of Beethoven 5 shares the same ominous mood and spirit as the Haydn Mass, and in particular, the timpani sections of the Agnus Dei.
To these examples must also be added the opening motif of the first movement of Haydn’s string quartet in f# minor Opus 50 No 4 (and its subsequent development); you really can’t talk meaningfully about the opening of Beethoven’s 5th symphony whilst being ignorant of Haydn’s quartet.
That said, what Beethoven does with the famous motif *is* unique, and an almost unparalleled tour-de-force.
In short: Beethoven is better understood in context, rather than in isolation.
Your third paragraph is a list of personal favourites - that’s fine.
However, you have over-stated the influence of Bach and Mozart* on Beethoven - though he studied and assimilated much from both (and others), but that is not the same thing as the widely mis-used word ‘influence’; once again the work of Haydn - particularly in terms of compositional technique - is rather more significant.
Mention of Mahler and Brahms is a subjective opinion, not a fact.
The ‘Eroica’ broke the Classical mould of the symphony, though arguably, for example with Beethoven’s very different use of the orchestra, even from the 1st symphony, you can see - and hear - huge cracks.
Additionally, whilst labelled a Minuet, the third movement of Symphony 1 is clearly a one-in-a-bar Beethovenian Scherzo, and therefore different from even Haydn’s quickest symphonic Minuets:
Symphony 28 (1765) - Allegro molto
Symphony 94 ‘Surprise’ (1791) - Allegro molto
Mozart’s minuets never really got beyond Allegretto-types.
In short, I think Beethoven’s 1st symphony is less Classical than most people - and text-books - recognise.
Beethoven, like all top tier composers, as you say makes the soul stir; but it was not something unique to him.
* Though Beethoven knew many of Mozart’s works well, and like Haydn, was one of the few who truly understood his greatness.
You might find my reply above of interest.
Regarding the opening chords of this symphony, check out the opening chords of Haydn’s string quartet Opus 74 No 1 written seven years earlier; you will recognise instantly from where Beethoven took the idea.
Haydn often gets too little credit. People say that Haydn came up with a lot of important formal ideas but that they were only perfected by Mozart and Beethoven. But when you take a closer look at Haydn's work you'll see that it's an unfair assessment. He was one of the greatest masters of the classical tradition. I think the problem with Haydn is that he composed so much stuff that it's hard to get a decent overview. Everyone knows Beethoven's symphonies but how many people have heard all of Haydn's symphonies? I like Haydn and I probably haven't even listened to half of them.
The idea of the opening chords is lifted directly from the opening of Haydn’s string quartet Opus 74 No 1 written about seven years earlier.
Probespielstelle 2:12
1:12 - 1:36 , 1:59 - 2:17
1. 0:49
2. 2:10
3. 11:05
4. 14:10
Jovial y deudora del clasicismo se permite ciertas licencias como es empezar en la primera inversión del acorde de tónica como si fuera el de dominante.
Tom chased, waited for, pounced on, was diabolical to Jerry in my head for straight 24 minutes.
Wow, I didn't expect that description.
It's barely related to Beethoven, but great recording and score anyway.
Who are the performers? It’s clearly not those listed under the video!
Why did they do all the repeats in the coda section of the third movement? Otherwise the performance was fantastic!
Who are the orchestra and conductor on this recording please ?
Robert Berger i think it’s either said in the video or it’s under the description where TH-cam automatically lists the recording used.
@@eggandbeans6444 I don't see this anywhere . Thanks .
Robert Berger. The orchestra is the australian chamber orchestra. This also means that they have no proper conductor. Richard tognetti, the concertmaster, leads them in and sometimes conducts when the first violins are not playing.
I forgot to say but i am in youth orchestra who is helped out sometimes with masterclass’ and things like that from the aco (Australian Chamber Orchestra)
Podés venderme la Partitura en PDF, para imprimirla ?
1:12 sry I need this
I just hear it in cause of practising for a music test
18:59 cellos and bassi play this "pam pam pam pam pam pam" (six notes ascending), I have heard the same 6 notes pattern in some other Beethoven (or maybe not?) piece, but dont remember where exactly, if somebody knows where it appears, please share. Only difference was that the rhytym was "pam pam pam paaa pa pam".
beginning of the 6th maybe?
Ermoso betoven
maybe piano concerto 1
Krzysztof Q
Mozart N.41 K551 "Jupiter" Finale : molto allegro; 3rd theme 😉 th-cam.com/video/YTxYykhQZbI/w-d-xo.html
@@nnnnnn5719 bingo! Very nice.
came here for the Trio from the Minuetto
I'm assuming you came from Richard Atkinson too?
3악장 트리오 15:48
3:05 excerpt
1:50 my favorite part
19:03
7:12 (this is for my audition so ignore this comment)
won't ignore.
6:16