That sharp transition makes it sound better in my opinion

thank you very much, my friend. this makes it very helpful.

Big Big thanks for this cool quality of recording!!

sharp transition makes me feel good. like you high then relax feeling.

A sharp transition makes the moment of light triumphing over darkness and all the suspense of the scherzo exploding out into joy for the final movement a whole lot better.

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@raya No, it's because of the copyright. I cannot place or remove ads since I don't own the rights to the music.

@@jamisonsanchez9372 how can classical music have copyright?

@@ras6300 The music itself is not copyrighted, I should have been more specific. This particular *recording* is owned by a record company and they own the rights to the recording. Many of them do not allow the music to even be uploaded to KZfaq (several of my videos have been deleted because of this), others will allow them to be uploaded but KZfaq automatically places ads on their behalf.

Mostafa Hassan I agree, the whole 2nd movement is the best part, but this specific time, it goes so well together

@@hithere324 NO! THE WHOLE 3RD AND 4TH MOVEMENT ARE THE BEST THAN THE FIRST AND SECOND!

@@farrelpermadi5471 THEY'RE ALL GREAT!!!

yea 2nd movement is so overshadowed by 1st mvt, people only know the dun dun dun dun motif

@@fredericchopin6445 imposter, your profile is zoomed in, thats how i know your fake

I WAS JUST ABOUT TO COMMENT THE ADANTE MOVEMENT IS MY FAVORITE i like the eighth notes that sound like dun du-DUN ~ dun DAH-duuuun.......

The Finale is the best Part of this symphony.

It's not thrue. You only would seem a special connoisseur

After having PLAYED this symphony with 3 different orchestras, I will tell you that the second movement is my favorite as well!

same brother

You’re generally speaking correct, but the model for Beethoven’s 3rd-related tonal journey in this c minor symphony, from darkness to light, from conflict to resolution, et cetera, is with one minor exception, identical across all four movements to Haydn’s c minor Symphony 95. The idea of returning material from the Scherzo (Minuet) in the finale had already been done by Haydn as well in his Symphony 46. And yet another example of Haydn being a step ahead of Beethoven occurs in the E flat major piano sonata Hob. XVI:52 where the E major (sic) second movement is fleetingly but teasingly foreshadowed in the E flat first movement; Beethoven knew his Haydn. The greatest work of through-composition and cyclic integration on this sort of scale, prior to Beethoven’s 5th (1808) was Haydn’s f# minor Symphony 45 ‘Farewell’ (astonishingly 1772). One of the most important musical scholars of this period, and of the 20th century - HC Robbins Landon - has described Haydn’s c minor Symphony 52 as the ‘grandfather’ of Beethoven 5. All the Haydn models pre-date the Beethoven - strongly suggesting that Haydn was truly a genius too, and that no composers should be judged in isolation, and without some knowledge of both their contemporaries, and the past.

@@elaineblackhurst1509 fascinating. Can you suggest me some books where I can find analysis like yours please?

@@nickn2794 You are best using the indexes of books on Beethoven - and other relevant composers which in Beethoven’s case normally means Mozart and Haydn - along with scores if you can read them, and then trying to put pieces together. There is more of Haydn in Beethoven’s compositional dna than is commonly understood or acknowledged; that said, any compositional ideas he took from his former counterpoint teacher were then fully assimilated and integrated into his own very powerful musical personality. The 3rd-related journeys from c minor to C major in Haydn 95 and Beethoven 5 are as follows: 1st movement - both c minor; 2nd movement - Haydn E flat major, Beethoven A flat major (slight difference, but both 3rd-related); 3rd movement - both c minor/C major/c minor; 4th movement - C major. Similarly, the only precedents for the through-composition of a work as occurs in Beethoven 5 are to be found in Haydn. In particular, James Webster has written a fascinating book relating to Haydn’s Symphony 45 in f# minor (‘Farewell’): Haydn’s ‘Farewell’ Symphony and the Idea of Classical Style: Through-Composition and Cyclic Integration in his Instrumental Music. (Cambridge University Press, 1991). As I mentioned earlier, using the index to search Beethoven in this brilliant and detailed study will teach you much about both composers; in short, Webster explains that Haydn 45 (1772) is so completely organised as a cycle - tonal, rhetorical, motivic, et cetera - with the symphony moving through carefully prepared stages to a final apotheosis, that the only work to approach it was Beethoven’s 5th 36 years later. Generally speaking, I find it very useful to learn about one composer by searching him in the index of another - a practice I recommend highly. The literature on Beethoven is enormous, the only thing I would suggest is that until the Haydn renaissance dating from about the mid-20th century, many of the older Beethoven biographies seriously under-estimate, misunderstand or misinterpret, or though downright ignorance* dismiss Haydn’s contributions as in the case I have outlined above. More recent books on Beethoven are better as they can draw on a far better level of research, knowledge and understanding of Haydn - and complete Urtext editions - rather than just seeing Beethoven as some sort of comet that appeared in the sky out of nowhere. Hope some of that is useful. * There was no complete edition of the symphonies for example until the late 1960’s.

​@@elaineblackhurst1509very very interesting! Thank you for this insight

Well it was Anton Schindler who said that the opening four-note motif resembled 'fate knocking at the portal'. That statement tells us a lot about Schindler and the tastes and values of the society in which he lived. It doesn't, however, tell us anything about the music.

Stephen Gott Pianist They do not even know the famous ‘fate’ motif really; 9 out of 10 people if asked, could not tap out the rhythm correctly. Your partly right about the ‘...most famous music of all time’ - the opening motif of the first movement probably qualifies. However, almost all the rest of it doesn’t, and is nowhere near as famous as the final section of Rossini’s William Tell overture which is just one obvious example of something that is generally speaking, much better known.

@@elaineblackhurst1509 Or even Beethoven's "Ode To Joy" melody, which is far more famous.

@@elaineblackhurst1509 it kinda feels as if the motif has become more of meme now ☹️

@@Rainwang_ Try listening to the opening of Haydn’s Symphony 28 (1765); you might be interested in the little motif that opens the work, and is then developed intensively throughout the rest of the movement.

Top ten epic beethoven moments

Especially that development section. goosebumps every time

I agree, Vin- *I mean* Gustav.

Yeah with context it’s great

This should not be placed as background music.

The 5th and the 9th are that way for me. They are so ubiquitous in popular culture it's hard to listen to them on their own merit without thinking of movies, commercials, etc where the music has been featured. If you can manage to do it, it's clear why the pieces became so legendary in the first place. Beethoven's "Fate" symphony really does have a lot to tell us about life.

That's funny! 😂😂

Well I think its very majestic But sweet too and thats so cool what Beethoven composed there!

@@redfishplayz4476 yes.

just one thing the transition to second subject is called a bridge in sonata form also I like ur formal analysis (analyzing a piece's form), I listened to this for my RCM history exam and it's absolutely fire

@@l.p.1152 thanks! i made these timestamps to help with my igcse music exam lol. still not tired of listening to this on repeat... yet

@@lafox8973It would be nice if you do the rest of the symphony.

Thanks so much! This helped a lot

hi

I was conducting all throughout the score!

It happens to me also all the time. It's like it helps you reinforce the emotions in the notes.

who wasnt?

Why sæm

Nope. Bach and Mozart do it better. Even Brahms said it shortly before death 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

Overall, I have to agree with Ravel's opinion on Beethoven. Beethoven is tiresome because he relies less on harmony and counterpoint too much on rhythm and dynamics to make an expression. For example, in the 7th symphony 2nd movement, the melody is dum dum dum dum dum, later on in the movement he turns it into BAM! BAM BAM! BAM! BAM! Likewise, I find that too much of Beethoven is about BANGING, combining the orchestra (or choir) to bring out more forte. And more Fortissimo! Compared to Mozart Masonic Funeral Music K477 kzfaq.info/get/bejne/aqdhfc9y3ZnaqWQ.html the Beethoven just pales in comparison.

"Beethoven was not a great melodist. kzfaq.info/get/bejne/hduJjJSYu57OmIk.html What he was interested in was seeds, motives, things out of which he could breed melodies. This is one of the most unremarkable melodies ever written, but the most famous, but you couldn't call it a melody, could you? [Plays main 7th theme.] So far, what have we got? One note. [...] There's no aspect of Beethoven in which you can say: Beethoven is great, as a melodist, a harmonist, contrapuntist, a tone painter, his orchestration. You'll find fault with all of them. If you take any one of these elements, separately, you find nobody. There's nothing there. He spent his whole life trying to write a good fugue. And he himself admitted he never succeeded. And as far as his orchestration is concerned, you could have it. I mean, it is bad, it has trumpets sticking out, the same not drowning everybody else." -L. Bernstein

@@jackjack3320 I couldn't agree more with you

@@jackjack3320 You mean Beethoven who wrote some of the most well know, catchy, memorable melodies in the world? Fur Elise comes to mind. Allthough you are correct about his love of motives, i reccomend you check "Orchestration online"´s video on Bernstein Comment. Berstein being a bit out there towards the end of his life.

The final is so epic, especially the development section

Amazing. It’s a shame many young people don’t know these great works. I wish I had been one of those friends, I would’ve stopped and listened!

What about the Rheingold?

Listen to the crescendo between the scherzo and finale from the 2nd Symphony in D-major by Sibelius. Perhaps that is only crescendo, which is comparable to the crescendo by Beethoven in this symphony.

Tim Ward Rossini churned out a string of slow-burn crescendi which appear at some point in just about every overture he ever wrote; some of them are highly effective, and pretty large scale too.

One of.

All of beethovens symphonies are divine

1.Satz/Mvt: 0:01 Einleitung -Epigraf, 0:08 ( 0:09 , 1:32 ) Hauptsatz/First subject, 0:45 ( 0:46 , 2:10 ) Seitensatz/Second subject, 1:07 ( 1:16 ) Schlussgruppe/Codetta, 1:25 Wiederholung, der Exposition, 2:49 die Durchfuehrung/Development, 3:33 quasi Antiphonos, 4:01 -> 4:06 Reprise/Recapitulation, 4:14 Hauptsatz, 4:20 -> 4:25 Recitativo, Oboe, 4:59 Seitensatz, 5:41 Coda, 5:56 (-> 6:00 ) Entwicklung, 6:43 Epigraf-motiv, 6:52 pp ; 2.Satz/Mvt: 7:08 ( 7:09 ) 1.Thema/Theme A, 8:00 2.Thema/Theme B, 8:09 -> 8:15 -> 8:21 C dur, a la 1789, 9:02 Var.1 (1.Thema/Theme A), 9:50 Var.2 (2.Thema/Theme B), 10:25 -> 10:35 Vc.bassi a la Epigraf; 10:54 Var.3 (1.Thema/Theme A), 11:55 Var.4 (2.Thema/Theme B), 14:57 Coda; 3.Satz/Mvt: 16:36 ( 16:37 ) 1.Thema (dialogo), 16:53 2.Thema, a la Epigraf, 18:15 Trio, C dur, 19:28 -> 19:36 Reprise, 19:44 variierte Themen, 19:53 variiertes Epigraf, 20:37 -> -> -> 21:03 attacca -> , 4.Satz/Mvt: 21:13 ( 21:14 ) Hauptsatz, ( 21:48 ) 21:49 Uebergang, ( 22:15 ) 22:16 Seitensatz, ( 22:42 ) 22:43 Schlussgruppe, 24:36 -> 24:46 variiertes Epigraf, 25:18 Reprise, Hauptsatz, 27:23 Coda ( 28:53 a la Schlussgruppe)

I know right it sounds so good

Two c minor symphonies. Haydn Symphony 95 and Beethoven Symphony 5: First movements - both c minor; Second movements - Haydn E flat, Beethoven A flat (both 3rd-related); Third movements - both c minor/C major/c minor; Fourth movements - both C major. Both symphonies are a journey from conflict to resolution, question to answer, through 3rd-related keys - not just a minor/major thing. Additionally, the greatest work of through-composition and cyclic integration prior to Beethoven’s 5th symphony (1808), is Haydn’s ‘Farewell’ symphony (1772). Also, the idea of returning material from the Scherzo in the Finale had already been done by Haydn in his Symphony 46. The compositional technique of building large musical structures from small motifs or cells, including through-composition across four movements, is something Beethoven took from Haydn - it almost never occurs in Mozart who did things entirely differently. Haydn was part of Beethoven’s DNA. You’re wise music professor missed out more than he told you! Beethoven’s 5th is a fantastic and revolutionary work, however, as shown above, it was not quite entirely new.

@@elaineblackhurst1509 Oh, she went into all that as well! The GERM of all those third relations comes from those first 8 notes, though. Schubert's 9th, now; THAT one is worthy of study!

@@Churchcantor If you re-check my ante-penultimate paragraph, I think you will find that what you said about the ‘GERM’ I had already identified when I talked about Beethoven ‘...building large musical structures from small motifs or cells’. It’s a very commonly found technique in Beethoven, and Haydn too. James Webster has written a 400 page book on through-composition and cyclic integration in Haydn, and it is something Beethoven clearly picked up from him, and then did his own thing, as here.

And it is the most famous

skipping ahead of the music baby!

I mean he refers the opening on so many occassions. Do wonder where that Scherzo theme came from hehe. Same goes for opening of 4th mvt

@@jordidewaard2937 Yea the 4 note motif is the basis. But the second lyrical theme in the exposition is also a basis. Listen for for it all over the second movement, I mean all over.

@@daveloutorres9651 Ah you meant that, my b

no i don’t think so

7:09 8:53 10:53 13:31

When a slow movement has a loud part, it is so fantastic. Like the slow movement of your ninth!

I think Finale still haven't victory yet, but after the 3rd movement motif was done in 4th movement, that is victory

These days he would be referred to as . . A SUPERSTAR. 😅😅😅

LOL

it’s EXACTLY HOW a symphony should end. Full of POWER.

@@buba4267 dont say that. Music is art, not an assignment. saying how a symphony should be is like telling Beethoven how his mind should work

Look into an adblocker for your browser ( I use ublock origin personally). It will really improve your listening experience on KZfaq.

@@jamisonsanchez9372 what about on phones

@@name-ng7mk I don't use KZfaq much on my phone so there may be better options out there I'm not aware of, but I use KZfaq Vanced and it gets rid of ads + lets you download videos.

Sadly, KZfaq purposefully lags if you have an ad blocker.

Awesome fugal passage innit

Soy bilingüe

This is a Victory

@@nevadodelruiz949 epic victory royale 😀😀😆😁😁😁😁😊😂😂😂🤣🤣😂😂😂😂😀🤣😁🤣😁🤣😂😂:vvvvvvvv

True ! I always wait for this moment. Brahms before Brahms.