Beethoven’s Symphony No. 5 opus 67 in C minor was written between 1804 and 1808 in Vienna, Austria. It was debuted at the Theater an de Wien in Vienna and is one of if not the most iconic piece Beethoven has ever written. The famous intro to the symphony has ingrained itself in modern pop culture and is one of a few classical works that are almost universally recognized. The theme has been used in various forms of media and has seen itself included in incantations of multiple different genres of music.

The first movement, Allegro con Brio, immediately presents the themes of four notes that we have come to know so well. The movement then continues to develop through several keys and motifs. The development section sees Beethoven transition from the dark and brooding key of C minor to E flat major. The new section is introduced with sets of blaring fanfares from the brass section. Following it, the main theme recaps and the four, fortissimo notes return to prominence, ending the movement.

The second movement, Allegro con molto, is a slower, marching theme played in A flat major, the subdominant key of C minor. This movement is written in double variation form and there are two predominant themes to this movement and they are alternatively varied. The movement opens with a lyrical section played by the low strings. The theme is then varied with the rest of the string section and the woodwinds with an alteration in rhythm.

The third movement, Scherzo, suddenly becomes very fast. This particular movement is composed in ternary form, with the scherzo concluding with a trio section. The middle of the third movement returns to the dominant C minor key of the first, with a section of rising quarter notes played by lower strings and viola.

Finally, the fourth movement is a bombastic Allegro. Beethoven writes the Allegro in C major, a strange dissonant contrast with the dominant c minor key. This movement boasts an unusual alteration of the traditional sonata form. Instead of the movement recapitulating to the original theme completely. It plays the theme but in an alternate key. The movement concludes its finale with a barrage of massive C major chords blared by each section of the orchestra, one after the next, concluding Beethoven’s 5th symphony.

Beethoven 5 is, without a doubt, the most influential work that both he and the classical time period left for the audience. No other work has been so featured in all aspects of life that virtually everyone knows the main theme. Don’t believe me? Take a listen. tell me if you know it.

Beethoven’s Symphony No. 4 Opus 60 in B flat major was composed in the summer of 1806. It was performed for the first time in the spring of the following year for Bohemian aristocrat, Joseph Franz von Lobkovitz. Like his previous works, Symphony No. 4 is composed of four movements, Allegro Vivace, Adagio, Menuetto, and Allegro ma non troppo. The four movements take roughly 35 minutes to perform.

The work was dedicated to Count Oppersdorf, a relative of Beethoven’s patron. The Count enjoyed Beethoven’s previous symphonies so much that he paid Beethoven to commission this piece for himself.

The first movement begins with winds landing a tonic B flat major chord with strings continuing the motif that was precedented by the winds section. At measure 88, a new theme is played by the strings in the dominant chord of B flat major. The movement ends with a coda section that is played by all the sections simultaneously, the movement suddenly shifts to a 3/4 section and ends with a waltz-like feel.

The second movement, Adagio, is a slow but playful dance. The movement is started with the lower strings playing a series of quarter notes that beat into the main passage. The winds then play a relatively faster passage of sixteenths that are displayed in an arpeggiating fashion. The movement concludes with the tonic chord being played by all sections and ended with just the winds finishing, concluding the second movement.

The third movement, Menuetto, is similar to the dance of the Adagio but in a much faster tempo. The winds are accompanied by a multitude of fast, technical running sections by the strings with a brass section fanfare. The phrasing of the movement is composed of sonata form, of which much of Beethoven and his predecessors’ music was. A middle developmental section is played that uses the tonality of the entire orchestra. The movement is then concluded with a brilliant display of technicality from all sections of the orchestra, maximizing the use of the harmonic resonance in the piece and concluding the third movement.

The final movement, Allegro ma non troppo, sets a completely new tone and idea for the piece. Instead of working in congruence with each other, Beethoven seemingly writes the movement so that each of the sections is being played against one another. This, in turn, gives the audience an uneasy feeling and keeps them on their toes for the fantastic conclusion of the piece.

https://www.youtube.com/watch?v=ctBqW5e16YM

Beethoven’s third symphony in E flat major, also known as Sinfonia Eroica (the Heroic Symphony), was composed between 1802 and 1804. Due to the majestic style and tone of the symphony, the Sinfonia Eroica is one of Beethoven’s most celebrated and performed pieces. The piece was composed in the middle of Beethoven’s life and is well known to have been one of the pieces that bridged his classical and romantic writing styles.  The symphony is composed in 4 movements (Allegro con brio, Adagio assai, Allegro Vivace, and Finale: Allegro molto) taking up to 54 minutes.

The first movement is written in 3/4 time and is composed in sonata form. The movement begins with large E flat chords that help establish the harmonic functions of the movement. The wind section starts the expositions with the chords and sets the thematic material of the movement. The string section then comes in the reinforce those tonic notes and continues the phrase. The strings then enter a large repeated section where quarter notes are being played in rapid succession in an ascending motion. The timpani supports the section by following with those respective sections. The movement then recaps the main theme, but this time in F major. The movement then ends with a lengthy coda section that sets up the following movement.

The second movement, Adagio Assai, is a sad, funeral march written in the ternary form, with an exposition, development, and a recap. The movement opens with the string section in C minor. Throughout, the movement, Beethoven consistently alters the key to keep the audience on its toes.

The third movement, Allegro Vivace, is a trio written in a lively, scherzo, tempo. The strings begin in a pianissimo volume and in the key of B flat major. The movement is notoriously difficult for winds due to the wide variety of volume changes that constantly occur. At measure 143, a trio section then occurs played in duple time. The movement ends with a coda with a sudden volume change from pianissimo to forte. 

The last movement is written in variation form, meaning that the main theme is played and sets of variations are played that revolve around it. The variations alter the keys, rhythms, articulations, and volume. For example, variation two consists of groupings of triplets that are played successively to each other. The movement ends with another coda with tonic E flat chords played on triple forte, concluding the “eroica” symphony.

https://www.youtube.com/watch?v=InxT4S6wQf4&t=1002s