Beethoven First Symphony

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Ludwig van Beethoven (1770-1827) was the bridge between the Classical and Romantic eras. He learned and imitated the forms of Classicism and infused his own creative energy, partly inspired by his struggle to come to grips with his deafness. While his output includes masterful works in a variety of genres, he is best known for his symphonies. Having studied for a time with Haydn, the master of the Classical symphony, Beethoven’s first two symphonies demonstrate mastery of the Classical forms. In the symphonies that follow, he asserted his own voice and became an inspiration to Liszt, Brahms, Wagner, and others who continued to push the boundaries of art music. In contrast to the large symphonic outputs of Haydn and Mozart, who composed 104…show more content…
The First Symphony, premiered in Vienna in 1800, is his most imitative. There are, however, a number of innovations that begin to distinguish Beethoven’s works from those of the Classical era. While the work is in the key of C major, the introduction begins with the tonicization of F and G (G 4). Such an opening does not seem strange at all to the modern listener, but it was met with disdain by music critics of Beethoven’s day. The prominence of the woodwinds and the extensive use of dynamic shading also distinguish this symphony from those of Haydn. The symphony demonstrates Beethoven’s desire to both follow conventional form and alter it to fit his whims. The most novel movement of this symphony is the Minuetto, which is uncharacteristically fast and accented (WK 62). While that marking fits within the Classical four-movement symphony, the tempo marking is more typical of a scherzo (G 10). This change of the third movement is characteristic of all of Beethoven’s symphonic…show more content…
While he had begun to notice his loss of hearing as early as 1797, it was at Heiligenstadt that he realized it was permanent. He was still able to compose, but was drawn into social isolation for fear of embarrassment (BC 129). This realization led him to consider suicide, but he decided to instead endure for the sake of his art. The writing of his Heiligenstadt Testament was a turning point in his compositional career that allowed him to mourn the loss of his hearing and assert a new individual voice. The symphonies that follow assert a greater individuality of
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