Beethoven - Symphony No. 5 (Proms 2012)

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Beethoven - Symphony No. 5 (Proms 2012) 5
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Prom 12: Beethoven Cycle -- Symphonies Nos. 5 & 6
Beethoven - Symphony No. 5 in C minor, Op. 67
1 - Allegro con brio
2 - Andante con moto
3 - Scherzo. Allegro
4 - Allegro

West--Eastern Divan Orchestra
Daniel Barenboim, conductor
Royal Albert Hall, 23 July 2012

💬 Comments on the video
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What a privilege to live in an age in which we can get this whole experience with a click.  What magnificent music

Author — Stephen Quirke

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8:00 The moment they stop playing everyone starts coughing like they have bronchitis...

Author — The BJ

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I was going to play this in the background while doing work, but I ended up just sitting here for half an hour listening and not getting anything done.

Author — Henry Chan

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Here is a very detailed explanation of this song (which i took like 2 hours writing ;-;)

This song was written by Ludwig van Beethoven in 1807-1808, and its genre is symphony. The performing forces is symphony orchestra. For the first movement, the key is in C minor, and it is a sonata form. The tempo is allegro con brio, and the meter is 2/4. In the exposition, the first theme has the four-note motive, and it is comprised of a short-short-short-long rhythm. It is stated in unison by clarinets and strings, and the descending third is repeated sequentially a step lower. The fermatas arrest the forward drive of this theme, generating tension and restless character. The first theme grows out of this initial statement, repeated sequentially in a series of descending statements.

In the bridge, the music grows out of the first theme and it is played fortissimo by the French horns. It is unusually short and it modulates abruptly to the new key. In the second theme, the new key is E flat major and it is played by the first violins and woodwinds. The piano and legato phrases create contrast and the rhythm of the four-note motive in the cellos and basses provides a persistent background to this lyrical first theme. In the Codetta, the first-theme material dominates the codetta, punctuating the close of the exposition with decisive authentic cadences.

In the development, it opens boldly with the French horns and it draws principally on the first theme. The tension is generated by the use of several techniques, including manipulation and breaking down of the four-note figures, filling-in of the interval of a third, inversion of the motive, and expansion of the passage through forceful repetition. There are abrupt dynamic contrasts contribute to the dramatic energy and at the end of the development, tension builds through repetitions of the basic theme played fortissimo by the full orchestra in union. In the recapitulation, the first theme returns, followed by a short, melancholy oboe solo played freely, in an improvisatory manner. The bridge follows, and it is altered to stay in the tonic key. The second theme returns surprisingly in C major, not C minor as expected. The codetta is also in C major, followed by a lengthy coda that restores C minor, while it continues to fragment and expand on the first theme, much like a development section.

The key for the second movement is A flat major, and its form is two themes with variations. The tempo is andante con moto, and the meter is 3/8. In the first theme, it grows out of an ascending broken tonic triad in the low strings. It is characterized by elegant dotted rhythms, and it is marked dolce and played legato. In the second theme, the woodwinds and violins present this new theme marked dolce and legato. It begins in A flat major, but shifts bodily to C major in bar 32, featuring brass instruments playing ff. In the first variation, the first theme is in smooth, running sixteenth notes. The second theme follows unchanged. In the second variation, the first theme returns in running thirty-second notes. For the third variation, the first theme is in contrary motion and suddenly, without preparation, the second theme recurs in C major. In the fourth variation, the first theme is played in A flat in a clipped, march-like fasion. For the Coda, it is marked piu mosso, and the bassoons begin, playing first-theme material.

The key for the third movement is C minor, and it is ternary form. The scherzo and trio replace the traditional menuet and trio. The tempo is allegro, and the meter is 3/4. In the Scherzo, from the first theme, the rocket theme is initiated by the low strings and it is played pp. For the second theme, the bold subsidiary theme is played forte by the French horns and it recalls the short-short-short-long rhythm from the first movement. Fermatas are added to the mood of mystery and surprise. For the Trio, the key is C major and it features woodwinds and strings. The double basses also take the leading role. There is imitative texture and it is playful, energetic character that contrasts with the dark scherzo.

After the scherzo returns, the first theme is abbreviated. The second theme returns pianissimo, played now by pizzicato strings and staccato winds. The suspense is achieved at the end of the movement by a deceptive cadence that leads into a transitional passage. The timpani play the short-short-short-long rhythm softly, and a blazing crescendo lead directly into the final movement.

The key for the fourth movement is C major and it is sonata form. The tempo is allegro, and the meter is 4/4. In the Exposition for the first theme, the theme outlines the tonic chord, and the ff trumpets add a majestic touch. For the bridge, it features French horns and it leads to G major. For the second theme, a new triplet figure introduces a vigorous theme. The theme ascends in a stepwise motion, echoed by descending figures. There are also dramatic contrasts between ff and p, and it also contains the short-short-short-long motive.

For the Codetta, the woodwinds and violas initiate the codetta, and the codetta theme descends in four-note fragments. The development is based on the second theme material: inverted, expanded, and treated imitatively between instruments. Toward the end of the development, the scherzo theme is unexpectedly recalled, now pp, played gently by woodwinds and pizzicato strings. There is also extended dominant preparation on the note G that leads into the recapitulation. For the recapitulation, all the musical material returns but remains in C major. In the coda, the piccolo stands out above the orchestra, playing rapid ascending scales. At the Presto, the codetta theme is played quickly, leading to a bold and dramatic conclusion. The final tonic chord is reiterated eight times.

Author — TridentGamerz

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That moment at 5:39, when the second theme returns in C major, is played by both bassoons and horns. In the original version of Beethoven's 5th symphony, this was actually a change from horn to bassoon, made not for an asthetic reason, but rather to solve a practical problem: lacking necessary valves, horns were primitive in Beethoven's time, and could not switch from E-flat to C. Horns of that time could not play a fanfare in C major, and that's the reason why Beethoven assigned the passage to the bassoons, who play this passage in the tenor range. Nowadays conductors assign the C major horn call to both modern horns and bassoons, and why no re-orchestration? Why still the bassoon? Because that's the way Beethoven wrote it, and nobody dares changing the score.

Author — Rodrigo Samuel Guinis

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Can we take a minute to appreciate the fact that Barenboim has no sheet of music and performs the whole piece from memory?

Author — Manuel Amaya

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One time Franz Lizst said about Beethoven : " His life can be divided into three periods
1- Beethoven the child.
2- Beethoven the man.
3- Beethoven the God."


Beethoven was more than a genious.

Author — Bb Rr

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the coughing is a newer arrangement and is played by secret musicians in the audience.

Author — Adriano Piscopo

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“To play a wrong note is insignificant; to play without passion is inexcusable.”

― Ludwig van Beethoven

Author — Nam Nguyen

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Bastard decided to sneeze 10 seconds into the 1st movement

Author — Killerbee47

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A friend once asked why an orchestra needed a conductor. I directed her to this video.

Author — Don Guizzetti

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1st movement 0:00
2nd movement 8:26
3rd movement 19:13
4th movement 24:35

Author — Phas Reca

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No one:
Audience after the movement ends: "Okay, we can breathe now."

Author — Hello World

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The good old times where coughing is still not like a killer.

Author — Andamine Sefrine

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0:30 he be throwin invisible cookies to make them play better

Author — Mason Pilkington

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Coughing movements:
First movement: 7:59-8:30
Second movement: 18:31-19:15

Author — Chizo

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No one:

Literally everyone in between movements: 🤧🤒😷

Author — Herpy Derpy

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JUST THE WORLD'S MOST SICK AND COUGHING AUDIENCE OF ALL TIME

Author — jp

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We all understand why Barenboim is sweating.
He feels watched by the master from up above.
The 5th opens the sky. 🌒💫🌓🪐🌔🌑🌟🌒

Author — California Dreamin

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Esse BEETHOVEN e grande demais para as nossas consciências.
Uma explosão de esplendor.
045/99148-3830. Foz Do Iguaçu-Paraná-Brasil.

Author — Antonio Paulo