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The musical form is in accordance with the established composing tradition. Musical content, instrumentation as well as tempi, is unusual, if not revolutionary, in its use for a symphonic work of
Beethoven's time. Therefore, Beethoven introduced himself with this work uniquely and boldly as an
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906:. Composed again in a solid sonata form, Beethoven uses the scale as the prevailing motivic element in this movement which, by character, pays most of all tribute to the customary finale established by Haydn in the preceding decades.
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The finale opens with another introduction consisting only of scale fragments played slowly by the first violins alone (an unusual effect) beginning on G and gradually adding more notes. After finally reaching an F, outlining a
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of the symphony's home key) of the second movement is played considerably faster than the general concept of that tempo. In contrast to the tradition, Beethoven uses the entire instrumentation of the orchestra (2nd flute
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has called this work "a comedy of manners". In fact, Symphony No. 1 can be regarded as a result of
Beethoven's bold musical experimentation and advancement which he presents five years after Haydn's
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from C major up to D flat major only about 36 bars into the movement. Given the tempo, a listener would hear that dramatic shift only about 15 seconds into the movement.
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from the first movement as motivic material which render this movement's momentum and wit. One notable element of this movement is the sudden change of
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202:), and the prominent, more independent use of wind instruments. Sketches for the finale are found among the exercises Beethoven wrote while studying
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as well as a symphony by Mozart, but there is some disagreement as to whether the remainder of the program included excerpts from Haydn's oratorio
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clarinet, as C and D clarinets are no longer widely used. However, there is some controversy over whether they should be played on E
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172:. It is not known exactly when Beethoven finished writing this work, but sketches of the finale were found to be from 1795.
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very early in the movement. While many opening themes of symphonic writing of the
Classical period typically stayed within
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work of the development before it closes the movement with strongly repeated chords played by the whole orchestra.
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David Young, Beethoven
Symphonies Revisited: Performance, Expression and Impact (Brighton, Chicago, Toronto, 2021)
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is reported to have attended the premiere and reacted by saying,”There is something revolutionary in that music!”
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was performed. This concert effectively served to announce
Beethoven's talents to Vienna. Holy Roman Emperor
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Beethoven's
Symphony No. 1 in C Major, Op. 21: Historical, Theoretical and Performance Interpretations
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of the first movement is sometimes considered a "musical joke". For example, the
English musicologist
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clarinet's timbre is much closer to that of the C and D clarinets than that of the warmer-sounding B
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advancing symphonic composer and stood true to this statement throughout his compositional life.
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begins in C major with a theme similar (both in rhythm and character) to the 4th movement of
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736:: Unusually, Beethoven's Symphony No. 1 starts with a sequence of repeatedly accentuated
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217:, who had been forced from Bonn by the armies of revolutionary France and was staying in
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In correlation to the tradition, however, the first movement is composed exemplarily in
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The third movement is on the one hand remarkable because, although it is indicated as
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Kerman, Joseph; Tyson, Alan; Burnham, Scott G; Johnson, Douglas; Drabkin, William.
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in Vienna. Most sources agree that the concert program also included
Beethoven's
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All Music Guide to
Classical Music: The Definitive Guide to Classical Music
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is clearly indebted to
Beethoven's predecessors, particularly his teacher
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164:, an early patron of the composer. The piece was published in 1801 by
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and, consequently, to be played so fast that it is essentially a
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clarinet. The second flute is not used in the second movement.
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Portrait of the composer in 1801, one year after the premiere
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The symphony is scored for the following instrumentation:
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Beethoven originally intended to dedicate the symphony to
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Audio playback is not supported in your browser. You can
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Nicholas Alexander Brown, Brandeis University, May 2010
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A typical performance lasts between 22 and 29 minutes.
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1035:. University of California Press, 1987, pp. 146–149.
1006:Barry Cooper, classical-music.com, 27 October 2015
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832:markings and the addition of the indication of
228:The premiere took place on 2 April 1800 at the
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1019:. New York: HarperCollins, 2005, pp. 77–78.
1004:Beethoven: What did the 19th century think?
992:Beethoven opus 21 Symphony No. 1 in C Major
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382:The clarinet parts are commonly played on B
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1341:Music dedicated to benefactors or patrons
1081:International Music Score Library Project
898:in C major, the real start of the finale
703:Learn how and when to remove this message
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730:and twelve years after Mozart's final
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787:is elaborate and mainly based on the
466:III. Menuetto, Allegro molto e vivace
16:1800 symphony by Ludwig van Beethoven
791:of the movement and explores a long
685:adding citations to reliable sources
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1321:Symphonies by Ludwig van Beethoven
904:Haydn's Symphony No. 88 in G major
510:Problems playing these files? See
485:IV. Adagio, Allegro molto e vivace
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1063:of Beethoven's Symphony Number 1.
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932:Beethoven and his Nine Symphonies
783:with the string instruments. The
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428:I. Adagio molto, Allegro con brio
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1017:Beethoven The Universal Composer
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230:K.K. Hoftheater nächst der Burg
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934:. London: Novello. p. 2.
813:is almost coherent with the
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715:The beginning of the twelve-
248:and whether Beethoven's own
208:Johann Georg Albrechtsberger
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1326:Classical-period symphonies
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160:21, was dedicated to Baron
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886:harmony, Beethoven shifts
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394:instruments instead. The E
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1033:Anatomy of the Orchestra
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653:Description and analysis
215:Elector Maximilian Franz
166:Hoffmeister & KĂĽhnel
1336:Compositions in C major
762:download the audio file
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210:in the spring of 1797.
190:Wolfgang Amadeus Mozart
1104:NBC Symphony Orchestra
947:"Ludwig van Beethoven"
900:Allegro molto e vivace
896:dominant seventh chord
858:Allegro molto e vivace
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104:2 April 1800
836:("with motion"), the
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176:Historical background
162:Gottfried van Swieten
94:Gottfried van Swieten
1165:Ludwig van Beethoven
1071:Christoph Eschenbach
681:improve this article
250:Piano Concerto No. 1
146:Ludwig van Beethoven
36:Ludwig van Beethoven
1122:Wilhelm Furtwängler
1118:Berlin Philharmonic
1090:Vienna Philharmonic
1073:about the symphony.
951:Oxford Music Online
828:Due to Beethoven's
24:Symphony in C major
1278:No. 10 in Eâ™ major
607:: Allegro molto e
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1331:1795 compositions
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840:(in F major, the
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1234:No. 6 in F major
1229:No. 5 in C minor
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880:tonal center
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724:Donald Tovey
720:introduction
719:
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679:Please help
674:verification
671:
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525:Adagio molto
518:
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381:
376:Contrabasses
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243:
239:The Creation
237:
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204:counterpoint
193:
186:Joseph Haydn
179:
149:
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18:
1124:(rec. 1954)
1110:(rec. 1939)
1096:(rec. 1937)
842:subdominant
799:, reaching
785:development
773:sonata form
245:The Seasons
188:as well as
1315:Categories
1218:No. 4 in B
1202:No. 3 in E
1159:Symphonies
1116:played by
1102:played by
1088:played by
1061:Full score
815:exposition
693:April 2012
512:media help
341:in C and G
332:Percussion
318:in C and F
258:Francis II
219:Hetzendorf
108:1800-04-02
90:Dedication
1067:Interview
830:metronome
644:(C major)
626:(C major)
576:cantabile
293:Clarinets
273:Woodwinds
195:sforzandi
136:Movements
121:Published
100:Performed
1238:Pastoral
1221:♭
1205:♭
930:(1896).
884:diatonic
854:Menuetto
834:con moto
804:♭
793:harmonic
781:woodwind
738:dominant
605:Menuetto
403:♭
397:♭
391:♭
385:♭
300:Bassoons
242:or from
200:movement
182:symphony
74:Composed
956:26 July
868:scherzo
863:Scherzo
838:Andante
823:motivic
797:A major
599:F major
573:Andante
567:C major
529:Allegro
361:Violins
355:Violins
346:Strings
339:Timpani
170:Leipzig
154:C major
126: (
106: (
79: (
1291:Portal
1269:Choral
1212:Eroica
876:triads
817:; the
609:vivace
371:Cellos
366:Violas
281:Flutes
234:Septet
206:under
114:Vienna
1224:major
1208:major
1069:with
914:Notes
847:tacet
807:major
749:tonic
742:tonic
307:Brass
287:Oboes
254:No. 2
85:–1800
64:Style
29:No. 1
958:2023
874:and
819:coda
597:in (
580:moto
578:con
533:brio
531:con
410:Form
359:2nd
353:1st
325:in C
295:in C
180:The
139:Four
128:1801
124:1801
81:1795
77:1795
55:Opus
1161:by
717:bar
683:by
252:or
225:.
168:of
158:Op.
152:in
148:'s
34:by
1317::
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949:.
611:,
582:,
550:–
535:,
527:–
349::
337:2
335::
321:2
314:2
310::
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279:2
276::
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801:B
764:.
740:–
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691:(
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637:4
619:4
601:)
590:8
569:)
565:(
558:2
543:4
514:.
130:)
110:)
83:)
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