Discover Beethoven's Fifth Symphony - (Discovering Classical Music #3)
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Episode 3 of Discovering Classical Music
Presented by Oscar Osicki
A full listening guide to Beethoven Symphony no. 5, perhaps Beethoven's most famous and popular work.
Bernstein Analysis of Beethoven's Sketches:
âą Omnibus Leonard Bernst...
RECORDINGS:
Karajan Conducts the Complete Beethoven Symphonies (1970s version):
amzn.to/2CIJIWj
Karajan Conducts Only Beethoven 5, 6, 9 (1970s version):
amzn.to/2OCjeuC
Carlos Kleiber Conducts Beethoven 5 and 7:
amzn.to/2HR6f7E
Barenboim Conducts the 9 Symphonies at the Proms (DVD):
amzn.to/2WEePdq
Eliot Gardiner Conducts Beethoven 5 and 7 (Fantastic Period Instrument Performance):
amzn.to/2HQedOy
This episode goes into some depth about Beethoven's life, deafness, and influence, and this symphony's importance, before giving a full breakdown of Beethoven's Fifth Symphony
PODCAST DETAILS:
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iTunes:
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Spotify URI:
spotify:show:5FRwbWaK5jIjiuC6z4mOwi
Stitcher:
www.stitcher.com/s?fid=383673...
I wanted to clarify one thing --- I *certainly* don't mean that composers pre-Beethoven were bad, inexpressive, or "chocolate box" composers who just wanted to entertain. That is absolutely not the case. And hopefully future episodes of mine will explore Bach, Mozart, Purcell, all kinds of things pre-Beethoven and show their qualities. I only meant that Beethoven changed the wider public perception of what music was capable of, and how we listen to music - this wasn't just Beethoven but a lot of things, like the pianoforte becoming a more common instrument in people's homes etc. It's quite a complex thought to get into, but the point is - composers pre-Beethoven were not just entertainers!! They were much more than that. Only Beethoven seems to have changed the way we think about music in other senses, especially with his late quartets, late piano sonatas, etc. So sorry if it seems like I dumped on those earlier folk
Also, Just to be clear, I am taking your requests into account!!
I have one more podcast planned from my initial list of 'starter' pieces to cover... Then your requests will be produced as podcasts, along with other pieces I think will be good to put out on the show.
I plan to put out this final 'initial' episode next week - then I may need to take a week off to work on a larger project for this channel, then your requests will come. So SORRY for the delay - I know some people are getting excited, and I promise it's coming, there's just one more episode to come out before I'll start on the requests. Hope that's okay!
Oscar
Thank you so much for the awesome work, just think maybe an episode on a Schubert's early quartets would be great!
Can you do Mozartâs Jupiter symphony? The explanation I found are usually too technical, and I failed to fully understand them
Bach's Passions are sort of foreshadowings of this sort of music - they, too, are dark and expressive.
I would love something on Schubert too...
I'm bad at math and music theory, but I love classical music. You break up the symphony in such manageable chunks, and I feel like I am finally beginning to understand not only musical structure, but the emotional direction of the music, like with sonata form when Beethoven subvert(ed) his audience's expectations. Love your reactions and analysis! What you did with Verdi's Requiem was gold, btw.
Thanks! Stick around for more, glad you enjoyed
Could you make an episode on the Seasons of Vivaldi?
DVORAK New World!!!!!... please :)
dvorak 1 or 8 pls
That would be Awsome.
That chestnut is vastly overplayed. Dvoraks 7th is his greatest symphony and the 8th is the most enjoyable. But i would recommend the exquisite cello concerto most of all for beginners.
next: the ninth, please
Thank you , the account of L. Beethoven's continuing to compose despite the devastation of slowly growing deaf and unable to hear his own compositions, and his famous letter making peace in his troubled family, moved me to tears . The New York Session Symphony will be performing this symphony in about a month from now . We'd love to see you there!
I would particularly enjoy a âDiscovering Classical Musicâ with the subject of Danse Macabre in G Minor Op. 40 by Camille Saint-SaĂ«ns.
The finale always makes me cry!
Here comes THE Symphony. Nice work as always.
That's exactly the kind of thing that I've been looking for. Thank you.
Iâm so glad your content is back! I thought you were gone for good. You influenced me getting into classical music during a couple formative months by showing me the finale of swan lake. But you totally left me hanging when you stopped those quick guides right before covering the Eroica, so I hope you get there soon! The first movement is my favorite piece of music. Also maybe do a series on great piano pieces and pure compositional techniques? Or maybe a shorter form series on recommendations for lesser known pieces?
I had the good fortune to attend a performance of Beethovens 4th and 5th symphonies with Karajan and the Berlin Philharmonic back in 1973. The concert was part of a short winter season of proms celebrating joining the EU. The presence of Karajan was supposedly a result of a friendship between him and the sailor/organist prime minister Edward Heath.
Different times, but the music never ages.
One of my favorite pieces. Keep up the amazing work.
Thank you for this great video series. Iâd really like to encourage everyone who is new to classical music to take a leap into cold water and visit a live performance. When I was new to classical music, it took me a long time until I dared to do that, as I was feeling inappropriate, out of place, not really belonging there with the little knowledge I had. Iâm very glad I went in the end, and now I am a regular concert goer. And in fact, most people know about as much or little as you and I do. Recordings are great to get to know these works, but nothing beats hearing them in the flesh. Often, there are heavily reduced tickets for students, young adults and elderly people on sale, and in many cases, this extends to people on state support. (At least, this is the way it works here in Germany.)
What a beatiful video. Have you more of these .Thank you so much
These are phenomenal. Keep up the awesome work. Would love to see your thoughts on each one of Beethoven's symphonies.
Mozarts requiem anyone or perhaps Bach's great mass in b minor ??? Would love one on mendelssohns violin concerto
Requiem would be amazing đđđđ
All stunning pieces. The Bach holds a very special place, and I know the Mendelssohn well
I like Bach's mass in G minor better. B minor mass is honestly too long. (feels like 1/3 of the movements are redundant)
This is brilliant! Looking forward to your next videos!
YES!!!!!!!!!
Thank You!
You have made my day, again!
I canât thank you enough for these absolutely fantastic podcasts!
Thank You!!!!
This series is spectacular, thanks ITS.... I hope that many more appreciate it as well.
The transition between the third and final movement is one of my all time favorite moments in music. Its just a fantastic symphony overall. For future episodes, I'd like to recommend Bach's mass in B minor, Bach's BWV 80 cantata, Schubert's Winterreise, Mozart's Symphony 41, and Schumann's Waldszenen, which is one I don't hear about a lot but enjoy quite a bit.
16:40 that variation is not only in minor, but also has the chord progression of the Folies D'espagne. Masterful.
Very interesting analysis. I also followed you recommendation to the Bernstein presentation where he actually has recorded alternate orchestral versions and discusses why they likely were discarded. Look forward to your other videos.
Really amazing series. Glad I discovered it.
This channel is great! Thank you for putting so much effort in these video's. Keep it going! I would love too see an analysis some day of Mozart's 41st! Cheers
Have you ever heard Beethoven's "Diabelli Variations"? Diabelli apparently sent a waltz theme to all the composers of the day, asking them to provide a single variation on the theme. Beethoven provided THIRTY TWO variations. That is so like Beethoven ;).
I love Beethovens 6th, the pastoral symphony. Could you do that one in the future.
That was great. Thank you. I always come back to Beethoven after a binge on somebody else. Last binge was Philip Glass. That may turn a few noses up, but I think we are all here and now to experiment in the first place.
You've shown us a good analysis, and a GREAT love for this masterpiece. Thank you.
I look forward to more!! If it's not already there, Bach cello suite #5 is my favorite. The prelude was a recurring theme in an anime I was watching, and it's stuck with me ever since. The first half of the prelude feels like sadness struggling for the light, tben the second half feels like burr with that subtle darkness still clinging. It resonates so deeply in my soul and I hope to learn more of the theory behind it.
Thank you for this channel. I love classical. My three favorites are Beethoven, John Williams, and A time of Michael Giachino and Hanz Zimmer. Great work on each. Thanks again!
I'm going to the 9th in April and the 2nd three weeks later... lucky to have them both together in London this year! đ
The greatest of the GREAT!
Thanks! You do an imortant and great work! Cleiber is indeed the best conductor!
I was hoping youâd do this symphony. What a great way to expose this music, particularly the latter mvts. Keep up the great work man.
I've got to admit that I kind of hate how often Beethoven 5 is repeated everywhere. That being said, I thought that this was a really good guide to it. I knew that this is a masterpiece, but now I can appreciate it more (and maybe even tolerate how often the first eight notes are played through media).
Also, I've already seen this suggested, but Dvorak 8 or 9. Or maybe his requiem. That is not talked about nearly enough. Just anything by Dvorak please.
Another highly overplayed musical piece is the love theme from Tchaikovsky's Romeo and Juliet Fantasy Overture. I hate how it's been turned into little more than a joke when the whole overture is so devastatingly beautiful and moving!
Fantastic analysis, thank you very much.
I love the Oboe cadenza!
Magnifique analysis
Hey! This listening guide is outstanding! I LOVE it!
Could you do Bruckner's 7th next?
The eighth of bruckner would also be a great topic.
Great work as usual!
I suggest Rachmaninoff's 3rd piano concerto and Chopin's 4th piano ballade
Thanks for this. I've been listening a lot of Beethoven symphonies lately, but for some reason I've been avoiding the 5th a little. I guess it's just that the opening is SO well known that it's hard to listen to with fresh ears, but I'm going to try to do that right now.
As for what I'd like to hear, I would most certainly like to hear a breakdown of Berlioz' Symphonie Fantastique, the last movement of which is possibly my favourite piece of music ever. I'm going to see it live in London, a couple of weeks from now (paired with Beethoven's 6th and conducted by Blomstedt who recently recorded a box set of all Beethoven's Symphonies which I find very pleasing to listen to)
I'd find an analysis of Schumanns 1st or his 4th symphony incredibly interesting. Or maybe Schuberts Unfinished Symphony in b minor.
Very, very nice.
You do great work, friend.
For introducing novices to the standard 19C post-Beethoven repertoire: Pictures at an Exhibition (with piano & orchestral versions compared), Symphonie Fantastique, Swan Lake, suite from Carmen. None of these are too "heavy" for new listeners to handle and many roads can branch off from there. Of course, one should also cover the 18C and 20C landscape too, as there is already an overemphasis on Romantic warhorses among most of these types of introductory series to "classical" music. But so far, this one is great.
Great great explanation đđđđ
You should cover the rite of spring next. Itâs my favorite piece and thereâs so much to go at within it :)
I must say, every time I watch your videos, I learn something new about a piece I thought I knew very well...
(I have the Sir Thomas Norrington recording.)
Peer Gynt Suite No. 1 would be nice, as well as maybe The Rite of Spring.
I'd love to see you do a deep dive into Bach's St Matthew's Passion!
I've already mentioned Wagner. Which other works would I like you to cover? JS Bach: Mass in b minor, St. Matthew Passion, Cantatas #140, #80, 106, 21. Mozart: the great c minor mass K. 427, Marriage of Figaro, Don Giovanni. Beethoven: Quartet #14.
Another amazing podcast. I would love to hear you talk about Tchaikovsky's violin concerto or Shostakovich's 7th maybe?
You should really start to add Amazon affiliate links. Great video also.
My favorite is Barenboim, general his Beethoven interpretation are incredible.
True!!
Great idea. Done
Inside the Score good that you like the idea, sadly I already own every recording, maybe next time.
I also think that it could be somewhat lucrative for your channel because your content is quite good for newcomers. (I just like what other people think about music that I like)
Thank you for your informative video. I feel Beethoven was the greatest composer that ever lived but just one question. If he was unable to hear, how did he know what a contrabassoon, trombone and piccolo would sound like?
My go-to for this piece is the incomparable 1996 VÀnskÀ/BBC Scottish Symphony Orchestra "Live at the Proms" recording from BBC Magazine. Another favorite is the excellent 1989 Weller/City of Birmingham Symphony Orchestra recording from Chandos. (Bonus points if you have "The Complete Beethoven Symphonies" two-volume box-set from the now-sadly-defunct Musical Heritage Society.)
Keep up the awesome Videos ! Maybe do Brahms' Sonata for clarinet and piano no.1 op.120 next ?
Iâd love it if you analysed a Shostakovich, perhaps the 7th? Historically itâs important, musically itâs amazing, structurally itâs interesting... and Iâd recommend the Bernstein/Chicago recording because itâs absolute đ„.
Wonderful!
Thank you for this.
I'd love to hear your thoughts on Brahms Cello Sonata no.1 :)
It's not enough that Beethoven developed music. He changed the format from a rigid pattern of 4 movements, being based on the sonata etc structure to one with more flexibility, adding or changing some sequence and structure. That is why then he received a lot of bad press, the critics simply were not expecting his music to shoot off the classical path. His music was in tune with public progression which was moving away from the baroque dress and architecture to one of more freedom. Freedom from rules and etiquette is known as romantic (eg candlelit intimate meals away from the formal gatherings with set courses and dress code).
A Version of 5th Symphony with folk and Irani Instrument was recorded by Majid Entezami for "Dast Foroosh" Movie:
open.spotify.com/track/3jOGnVzHpjcCEbsMpzqihK
You Can Watch Majid Entezami's Latest Video:
czcams.com/video/Om8VN5Z_n0A/video.html
Amazing job !
My suggestions :
Mahler 6 and 9
Shostakovitch 7 8 and 10 :)
Yes! More Mahlers!!!!â€ïžâ€ïž
Shostakovitch 5 is the standard one for introducing newcomers to his sensibility, but the first is the most brilliant & original IMO. The 7th is all hyperventilating nationalistic bombast, but 8 and 10, sure.
Great narrative and analysis! And very approachable for beginners (like me). Thanks a lot!! đ I think this video's really worth more views!!!
P.S: I know it's very difficult as you seem do everything on your own, but in my opinion there should be some videos, animation or drawings on the screen, just to make it more lively and easier for watchers to follow. Maybe you could get a team when the channel develop... đ€ Anw, keep on doing your great work! đ
Ahh it's a podcast I see. Sorry just ignore the P.S on my comment above đ đ
Please do Bruckner's symphony no 3,4, or 9
I want Bruckner symphonies analysis. Thank you!
Could you do Tchaikovsky's 1812 Overture pls, or Danse Macabre by Saint-Sens!!!
One of Sibeliusâs symphonies would be nice. Perhaps his 2nd or 5th
@Jean Sibelius His 7th is ethereal ... sublime
Either one of the Pathetiques please (beethoven's piano sonata or Tchaikovsky's symphony).
OK, you noticed the cell with the Morse "V" in it. Cool. =)
Can you do a video on Giachinoâs work. Itâs great too. In my opinion.
Would you do a an analysis of Brahms' 1st or 4th Symphony?
Try Mozartâs Symphony 41 âJupiterâ ...life-changing.
Beethoven 3rd or 6th symphony please!!!
Do not miss out the recordings by GĂŒnter Wand and Davd Zinman.
Tchaikovsky's Pathetique, symphony 6 please please please!
Beethovenâs situation reminds me of Franz Kafkaâs The Hunger Artist
I prefer the ninth.
I prefer MISSA SOLEMNIS!!!
I prefer the 7th.
The 1st movement of the ninth is so complex in structure. It just never gets boring to listen to.
The 3rd is where the real jizz at dawg
@@SomethingLegit1 jazz is a fucking shit
Could anyone post link to Bernstein video he mentioned please?
czcams.com/video/jv2WJMVPQi8/video.html
Could you make tchaikovsky 5th symphony please? đ
Bruckner please!!!
Bruckner no. 8 would be a great topic.
I'd suggest "The Rite of Spring" by Igor Stravinsky.
Ooh, you know what's an orchestral piece that I've never seen discussed in depth? BĂ©la BartĂłk's "The Miraculous Mandarin"! It's a shame that this ballet is more often played as a suite than in full and that very few, if any, productions are ever made of it with an actual ballet company because "The Miraculous Mandarin" is just so wonderful and different from almost anything you will ever hear.
Ok, and now let's talk about Beethoven 9. Or 6. Or 3. ;-)
Please do Mozartâs Jupiter!!
Pa pa pa paaa
Music is about itself not something outside of it. According to Leonard Bernstein.
The Berlin Philharmonic's transcendent 1943 recording of Beethoven's 5th with Furtwangler may be my favorite musical recording of all time. Furtwangler's style may be unorthodox by today's standards and I don't recommend it as a reference recording to familiarize yourself with the work.
Mahler 8th!!
There is only one Beethoven, but also only one Mahler!đđđČđ
I really enjoyed listening to your analysis :D
But I do not really like the beginning of your video, when you describe Beethoven as being the greatest, the best...
Although you think it, I do not think it's the right way to Present him, I think that too much superlative to describe him does the opposite.
I would have preferred to hear a more contrasted description with more details not only focus on his greatness.
Except this, Thank you a lot for this Analysis I really enjoy listening to it!!!
I don't think you cover opera much on this channel. And as a budding Puccini fan, I'd like to hear your thoughts.
I love Puccini! And Wagner. It's just I'm a bit cautious of introducing an entire opera, I'm intimidated by the task I suppose. How would I start? What format would the video/podcast take? It has been on my mind, I just don't know how I'm going to do it.
And there's such a prejudice against opera in some circles too because it seems pretentious and weird
@@InsidetheScore The prejudice against opera is the very reason to do some education or introduction to opera. The objections I hear most often are that they don't understand the foreign language, and because of that it's either stuffy or boring or too unfamiliar. I would point out that it's really not necessary to understand all the words. If you can hear the emotion in the music, the words won't really be necessary. Certainly if one listens thoughtfully and imaginatively, one can tell the difference between a seductive love song or duet, and a fight, and a murder, and a dramatic scene.
As for stuffiness, I would challenge anyone to listen to the storm scene in Rigoletto or the torture scene in Tosca and call those "stuffy." Or the last scene of Dialogues of the Carmelites, or the final dramatic scene of Don Giovanni. Whether you understand the words or not, you know something horrific is happening.
You could do a podcast on word painting, such as you did with the Verdi Requiem. That's as operatic as Don Carlo or Otello, after all.
Opera is drama, and drama relies on emotion, and if a listener can hear the emotion in the music, he can follow an opera.
@@davebillnitzer5824 I would start at Tosca. Otello also amazing. But I always say Tosca best place to start for opera. Better than La Boheme for various reasons. But maybe that's a more masculine or adolescent opinion from someone who had never been in love when he first saw Boheme and thought it was a bit... well..
@@InsidetheScore I agree with your assessment of Boheme. One has to have experienced that kind of loss to appreciate the opera for what it is. I think Tosca would be an excellent introduction for several reasons. The story is simple enough to be summarized in just a few sentences. Musically, the way Puccini varies the Scarpia chords depending on the dramatic moment is an organizing central motif that ties the whole opera and its characters together, and gives the newbie's ear something to hold onto and anticipate and recognize.
Another iconic moment is, I think, The Magic Fire music, a teachable moment about motifs, but there is so much going on there, that the listener needs to be prepared for that swirl of emotions that rises out of the orchestra. But that's one of those moments that shows what opera can be, if you listen actively with imagination and emotion. The challenge with opera is that there is potentially so much that can be said, that one must be careful not to overwhelm the new listener with too much material. Tosca seems like a perfect choice to get started.
@@davebillnitzer5824 you mean Wagner? - do you mean from Walkure? Interesting
gardiner conducts beethoven symphonies better than anyone, in my opinion, mostly bc he goes by the tempo markings
All musicians need to listen to Bach.
Humanity has to listen to Beethoven.
La sinfonia para papa
Would you consider talking about Respighi's Pines of Rome?
GötterdÀmmerung by Wagner
Just saw Die Walkure for the first time in 6 years... goodness
I havenât âreallyâ listened to this symphony in all of my years of listening because I thought Beethoven was a terrible composer. Thanks for making this video and introducing me to this symphony, like you said, thereâs a reason it is so famous!
HOW COULD YOU THINK THAT
Transition from film music...when I was eleven every other girl in my class would name the Spice Girls as their favourite musician, while I without hesitation would name Beethoven. I started to include film music thanks to Howard Shore and LOTR.
Tht influence on star wars is spent to đđđ #duelingofthefates
The planets by Gustav Holst is the primary driver of the star wars theme especially Mars the bringer of war.
I agree on Howard Shore, amazing music to make the Lord of the rings.
I prefer Sir Neville Marriners.
I appreciate your hardwork, Insidethescore, but at the same time I find it a little disturbing how much you use exaggerated hyperboles to glorify Beethoven way out of proportion while putting down his predecessors as mere "chocolate box composers who only wrote to please", which (in my view) serves no good purpose but to promote prejudice against pre-Beethoven era music. The fact of the matter is Beethoven's love for C minor stems from his admiration for Mozart, there is a lot of works in C minor by Mozart that Beethoven drew inspiration from. Maurerische Trauermusik K477 ( czcams.com/video/tTWuUSQH-rM/video.html ) is one of many examples. Beethoven said himself he would never be able to write anything like the chromaticism of Mozart's 24th concerto, even Brahms said Mozart's 24th is superior to Beethoven's 3rd.
Op.10 No.1: czcams.com/video/qsoEqZx9LoU/video.html
K457: czcams.com/video/gFNzxaKQZjs/video.html
Op.13: czcams.com/video/ButtZVb4dm0/video.html
K457: czcams.com/video/gFNzxaKQZjs/video.html
Op.57: czcams.com/video/EEptNFzLpjk/video.html
K475: czcams.com/video/zVGDgqt_kzk/video.html
Op.57: czcams.com/video/xz7usUEPWsc/video.html
K475: czcams.com/video/zVGDgqt_kzk/video.html
Op.111: czcams.com/video/rjQ7TxpMizc/video.html
K546: czcams.com/video/PFXF0Aysh4w/video.html
Op.111: czcams.com/video/rjQ7TxpMizc/video.html
K426: czcams.com/video/tr3gmzJqRcU/video.html
K546: czcams.com/video/PFXF0Aysh4w/video.html?t=249
Op.37: czcams.com/video/2Om4_9On9Vk/video.html
K491: czcams.com/video/XzU_Y7xDzYs/video.html
Op.37: czcams.com/video/PF7aY2lntU8/video.html
K388: czcams.com/video/wgMzJN4IgfQ/video.html
JOHANNES BRAHMS (1896): " *I always find Beethoven's C Minor concerto {the Third Piano Concerto} much smaller and weaker than Mozart's.* . . . I realize that Beethoven's new personality and his new vision, which people recognized in his works, made him the greater composer in their minds. But after fifty years, our views need more perspective. One must be able to distinguish between the charm that comes from newness and the value that is intrinsic to a work. I admit that Beethoven's concerto is more modern, but not more significant!
I also realize that Beethoven's First Symphony made a strong impression on people. That's the nature of a new vision. But the last three Mozart symphonies are far more significant. . . . Yes, the Rasumovsky quartets, the later symphonies-these inhabit a significant new world, one already hinted at in his Second Symphony. But what is much weaker in Beethoven compared to Mozart, and especially compared to Sebastian Bach, is the use of dissonance. Dissonance, true dissonance as Mozart used it, is not to be found in Beethoven. Look at Idomeneo. Not only is it a marvel, but as Mozart was still quite young and brash when he wrote it, it was a completely new thing. What marvelous dissonance! What harmony! You couldn't commission great music from Beethoven since he created only lesser works on commission-his more conventional pieces, his variations and the like. When Haydn or Mozart wrote on commission, it was the same as their other works. "
books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA134
books.google.ca/books?id=7iwZ-qTuSkUC&pg=PA135
"The 24th opens with a truly remarkable theme. It sounds as though it might have been composed 150 years later, with, what was for Mozartâs day, an outrageously chromatic melody that uses all 12 notes of the chromatic scale. So unique is it that in 1953 the German composer Giselher Klebe (1925 - 2009) used it as a tone row in his 12-tone Symphony for Strings. And yet, itâs stunningly moving, hauntingly beautiful in a dark and numinous way. "
"
Copy of Mozart's Fugue in C minor, KV.426, Hess 37 (Date of Beethoven's version unknown).
Without any doubt, Mozart's Fugue in C minor for two pianos, KV.426, is one of the greatest fugues ever written since the death of J.S.Bach. A staggering amount of canonic devices is let loose on the fugue's main subject, while maintaining a remarkable clarity of texture, demonstrating Mozart's total control of counterpoint. It's therefore important to realize that Beethoven not only knew Mozart's fugue, but even made a copy of it in his own handwriting. We must assume he was impressed by this work."
Wow not at all - not my intention. And I planned to cover a lot of Bach, Purcell, Mozart, Haydn, in future. But I think the idea of public perception of how music should be listened to, what music is capable of, changed because of Beethoven. That was my point - not that earlier music was chocolate box, I don't think that at all - but that Beethoven had a massive impact on the public and how they thought about music aesthetically.
Sorry and I'll be more careful with my writing in future
It is often played too fast.
It is not. It is often played too slow. It really goes over my head why people still think Beethoven's Metronome was broken. As if he wouldn't know what 120bpm are.
@@Quotenwagnerianerhe first movement is marked 2/4, but I never hear the second beat. If it is "The Call of Fate", then it should sound like decisive knocks on a door, not a shudder. In the 18th and early 19thC a definite beat was considered important and there is no evidence of the later practice of beating 1 in a bar for a 2 beat time signature, a practice which ruins many allegros and prestos, and is a late 19th and 20thC conceit.The Maetzel metronome was mechanically very good, but read in a different way from how we use it now. Beethoven's mark is minim=108, which doesn't mean you beat the minim at all, rather 2 clicks of 108 equal the value of 1 minim (double beat measurement). Thus the beat is crotchet=108. Allegro con brio is not an especially fast allegro. At this more reasonable speed you can make a difference between the quavers and the piece becomes more interesting and in a seemingly counter logical way more lively, and not superficial rush we normally hear.
@@petertyrrell3391 Oh please... That is why people said about Bach's playing that it was always "geschwinde" meaning lively and fast.
Music used to be played faster in the 17th through 19th Centuries. Wagner used to complain that conductors were dragging the tempi in his music.
How can anyone actually believe that Beethoven didn't know what minim=108 meant? One doesn't need a Metronome to understand that concept. And it most certainly doesn't mean half speed of any indication...
You might love FurtwÀngler czcams.com/video/5e-ng-vUg6U/video.html
Literally THE beethoven conductor of all time.
@@Quotenwagnerianer It is a myth that tempo in the 18thc and early 19thC was faster. The evidence is shown progressively in www.authenticsound.org - it is best if you start with the earliest videos. The Maetzel metronome instructions say each click is part of the tempo i.e. it was initially used like a pendulum. A lot of early metronome marks are unplayable and unmusical, e.g. The Hammerklavier - minim 138, I think - just stupid.