Symphony No

Throughout this entire piece, you hear the repetition and imitative polyphony of these four notes resounding throughout every section. The French horns bellow this motive during the development section, which creates a grandiose feeling into the next section. Mozart is not quite as demanding in his use of these motives, but rhythmically speaking it is very present. The repeating rhythm Of two eighth notes and a stressed quarter note can be heard all throughout. They both use harmonic minor to ensure a stronger V to I resolution.

Without this “raised” note, the progression is just not as convincing. They both depict the new style of Classical music by employing more dynamics; the long crescendos in the building string lines create a more dramatic effect when reaching the climax of the phrase. Where as they both use the V to I cadence for a driving effect, Beethoven uses the diminished chord very effectively in some of his abrupt stops. The listener is left totally in suspense Astor what will come next. Beethoven’s use of a motive is unfailing.

Almost every phrase is an answer r imitation either directly reciprocating the previous melody or rhythm in every orchestral section. This creates more of a sense of urgency to get to the end of the lines. He also uses his orchestra a bit more effectively. From the opening sequence of notes bowed with severity in the low octaves of the stringed instruments, the listener is left with a feeling of intensity about the piece. Mozart orchestration sounds a bit more “light and airy. ” He uses many scales and runs that resemble a “nicer’ sound almost from the Baroque era.

It reminds me of listening to contrapuntal lines from a Bach Fugue; the virtuosity is there, but the passionate and emotional feelings are not. Mozart use of the brass section is not as big and pompous as Beethoven’s is. French horns really stand out in Beethoven’s work; it gives a more poignant sound that is different from the driving string sections. Whereas horns cannot be nearly as virtuosic in running lines, it is extremely effective to use them to bolster the grand theme heard. However, both composers utilize their woodwinds sections effectively.

With the opening themes primarily driven by strings, they both transition towards the middle of the pieces to sweeter melodies carried by the flutes and clarinets. Beethoven’s Symphony NO. 5 in C Minor resonates more with me than does the other piece. It defines the minor tonality more distinctly and makes it more of a moody piece, which prefer more. I like his string writing more than that of the Mozart piece. Really enjoy hearing the basses come above the top of the ensemble and dominate the sections.

This, of course, may be why I am bass player at heart. Think Beethoven does a better job at captivating his listener and creating more chances for a change in emotion. In movie scores, they use the big fully diminished chord spelled out in the entire orchestra as a suspense hanger; he does the same thing in these giant crescendos and immediate stops. At one point, the piece modulates into its relative major which creates a sense of completion. Mozart doesn’t do this; it sounds like a series of scales and runs that never comes to full fruition of a climax.

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