Genre: Symphony
Composer: Beethoven
Title: Symphony No. 5 in C minor op. 67
It is considered to be a synonym for Beethoven, often known as the "Destiny" subtitle. But this subtitle is not the name of a composer, like Beethoven's other symphonies, Eroica No. 3, No. 6, and No. 9 Chorus. Because it was written in C minor, it is often called the Beethoven's C-forged symphony in the West, and it is rare to attach a subtitle of 'Fate'.
Composition Year: 1804 ~ 1808
Place of composing: bin
Publication / edition: April 1809
Dedication, instrument: dedicated to the Marquis Rofkovitz and Count Rajmovsky. When the emotional feelings are relaxed, it returns to passive music again. It uses the "motive of destiny" that former composers liked in the whole song.
First Year: December 22, 1808
Premiere Venue: Ante Bleu Theater, Bin
Premiere: Conducting the composer
This is a masterpiece of Beethoven's own masterpiece that reflects Beethoven's own view of life for about six years, from the first attempt to completion. It was completed in 1808 when he was 38 years old, but he is still involved in the challenge of the young Beethoven, his intense breath, conflict, sadness, frustration and his will to develop into a mature self over his frustration. It is the musical representation of the will of self-establishment through agony and the joy of its accomplishment.
By introducing a famous episode of this symphony, I would like to guess the impact of this song on the music industry at the time. Composer Berlioz's "Memoirs" contains the following.
Lesueur, a teacher of Berlioz and a prominent music professor in France, was ignoring Beethoven, a student who was so popular among students. One day, he went to a concert where the C-forged symphony was played, not winning the sanctification of Berlioz. After the performance, Berlioz ran to him to hear his opinion.
"How was it, sir?" "First I must shoot the wind, it's awesome, I could not tell where my head was when I tried to wear a hat, now I have nothing to say.
The next day when Berlioz visited him, he shook his head, talking about the impression of the time.
"That music should not be written any more."
Berlioz replied,
"Of course, sir, I do not have any worries that someone else will compose such music."
Instrumentation / vocalist / characters
Piccolo (fourth movement only), flute 2, oboe 2, clarinet 2, pagot 2, contra pagot (fourth movement only), horn 2, 2 trumpet, trombone 3 (fourth movement only), timpani, strings 5 parts
Composition of movements
Beethoven's Symphony No. 5 has a misunderstanding that only one movement is great. From the second movement to the fourth movement, it is at the core of this piece how the agony of the same movement in one movement leads to victory and joy.
1 Movement: Allegro con brio C Forged 2/4 beat
Sonata format. Presented the first theme of "motive of destiny" as a string and a clarinet. The second theme is a horn and a violin. The development section is composed mainly of the first theme. It is difficult to play the horn, so Bassoon plays it.
Beginning in a sonata form, Beethoven said, "This destiny is knocking on the doors." Later, Beethoven's disciple begins with four tones of the famous "Tattataka". Listen to how the simple theme changes and changes into various forms.
2 Movement: Andante con moto A flat major, 3/8 time
Variations in two types of theme. The first theme is played with the violin and the cello bass playing, and the second theme is played with woodwind. Then the first theme variation and the second theme variation were played.
It is a free and beautiful variation with two themes.
3 Movement: Allegro C forged 3/4 time
A kind of Scherzo movement. 3 part format. Begins with the theme of bass strings. The trio of the second part becomes a fugato that moves from the bass string to the treble.
The theme of the 1st movement reappears and gives the solidity and unity of the structure. The three movements lead directly to the four movements, creating a large climax of the song.
4 Movement: Allegro C major 4/4 beat
Sonata format. Started the first topic with Touty. The second theme is presented as a violin. The development department is played around the second theme. The second part uses the second theme again to create a climax.
I recall the theme of all the movements here once more and connect the whole song organically firmly. There is nothing short of expressing the joy that has overcome destiny until the last Koda which ends in Presto.
Commentary
The idealization of Beethoven as a "giant" tends to be rejected in recent years by a sort of bourgeois heroism, but respect for it is still worthy of controversy: Beethoven is one of those who This is because we created more effective music. It was not possible for both Haydn and Mozart to overthrow and reassess all musical values in confusion, and two composers did not intend to direct audiences into the moral and spiritual realm, like Beethoven. The effect of the music he created, the drama that the music was engrossed in, the almost superhuman painful endeavor is indeed "giant." Those who would like to see Beethoven as a romantic image do not realize that there is an irrefutable myth behind this vision: in the "Eloica" symphony the composer called Prometheus, the father of the gods, It is the main character who steals the fire and brings life to mankind. Once for Beethoven, Napoleon Bonaparte was a political Prometheus. The composer also thought that he himself was doing such a thing: it was still a fantastic sound for those who live in oppressed societies.
With the commentary of "Eloica" symphony or Symphony No. 5, however, this alone is insufficient. Anyone who wants to understand the historic leap and early innovation of the early nineteenth century needs to pay more attention to his "giant" as well as Beethoven. The old Haydn instinctively recognized the oddities in his disciple Beethoven's temperament and music. He called his companions, who were so confident that his hair was bristling, to be a "Mongolian" and rejected Beethoven's political views. Hayden hated the French Revolution and sympathized with a series of reforms of the Emperor Joseph II. On the other hand, Beethoven composed the cantata of the emperor in 1780. For Hayden, Napoleon was the era of war and was considered to have broken down the old order, and some of his works deal with these events: 1794 The "Army" symphony (in which the composer avoids anything that looks like a march), the mysterious "Big North Battle" symphony of 1795, and the Haydn: Mass C major in Napoleon's army approaching the bin Hob. XXII: 9 "Massacre of the Big North" and "Nelson Mass" of 1798 are such works - they are all clearly rejecting Napoleon , While Beethoven was a composer admired Napoleon as Gocek, mewil, Cherubini in Paris.
In Beethoven's Symphony No. 5, although the contemporary people refused to listen to the central message of this work, this point can not be missed. Although unfounded, Beethoven says the first theme of the symphony is "knock of the fate knocking on the door." Even if the composer did not say this by himself, people want to believe it. The ears are inaudible, lonely, nobody knows, and lack of freedom faces the power of Napoleon (formerly respected, but now an enemy) who has reached the heart of war and the vineyard: the nickname of the symphony 5 The destiny was national as well as Ludwig van Beethoven's individual. At the time, other composers left Napoleon's work, among them Etienne Nicholas Mewill, who even wrote the subject of the same fate in his G forged symphony, which was premiered in 1808, It was six weeks early. It was not just the revolutionary propaganda that came from France.
Nevertheless, Beethoven's C-forged symphony is not an answer to the events of the day. This work leaves trouble for finding some symbolic freedom from historical events. Even though there is a final movement to praise victory, a greater weight is given to 'suffering' rather than 'freedom'. The notion of per aspera ad astra can also be applied in Beethoven's ninth symphony: the moment of greatest happiness can be completely erased from the memory of suffering There is no.
Was this what the composer wanted to tell us? If so, he could say that he achieved his purpose completely, because the darkening of the 1st movement is the most important message of this symphony, as understood by the celebration of Western classical music. But for a person with a complex personality such as Beethoven, such a piecemeal interpretation would unfortunately be as easily attacked as any other interpretation.
source
http://www.digitalconcerthall.com/en/concert/2463/harnoncourt-berlin-beethoven
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