Yes. Absolutely gorgeous and creative concept. Composers like Mahler (1st symphony) took inspiration from that. Really creates this "order out of chaos" image, like something from the primeval birth of the world
As someone who has learned to play violin, the opening of the 1st movement also invokes violins being tuned, which does add to the "primal" nature of the piece. And yes, I do want a 2nd episode, and more subsequent episodes until the final note of the symphony, one of my favorite pieces ever.
I'm not a formally trained musician, but the beginning sounds to me like the strings tuning, which creates a sense of anticipation that something great is about to start.
Nice observation about the dotted rhythms of the Maestoso section of the Opus 111. C. Rosen wrote that the 1st movement of the Sonata is a "combination of fugue and sonata form" and that the Allegro con brio "starts with what is evidently a fugue theme". Thus the whole movement resembles a French overture.
great video, Mathew is an very nice professor and personally this symphony is the one that made me realise that I wanted to be an orchestral conductor and love classical music, so it is very special to me. And about the "open primal 5th", that's a think that Mahler wanted to comunicate in his first Symphony "Titan", with the pianissimo intensity, the birth and growing from the nothingness.
I remember listening to this symphony for the first time. Music appeared, out of nothing. Like a big bang. Later I imagined stars forming. The second movement has wonderful parts, like distant memories. Later, we are almost an hour in, man appears in the universe (with the singers) now being able to steer the fate of the cosmos, reaching out to god. The piece ends in rejoicing, in the now.
Loved it. Looking forward to the whole series. Analysing and presenting the entire 9th definitely won't be an easy task, but I'm certain you'll be able to pull it off.
And just not to forget: Beethoven is the Mozart of music! So I am eagerly waiting for the second theme (and your next +22 episodes about the 9th symphony! :) )
Thank you! Thank You! Thank You! This method of presentation with background information is exactly how I want to learn music. The chord information I find exceptionally useful. The editing is excellent and I appreciate how difficult that is.
I really enjoyed this. I've always thought that even if the choral movement had not been included, the parts preceding it still would have been among the greatest music ever written.
Could listen for hours just going into detail about symphonic works, especially Beethoven. Love that you go over history too! I feel that's integral to get a full picture of the music! 😊
The combination of verbal explanation, illustration by playing Liszt's transcription, and annotated score is done so very well. Just watched the video for a second time, after listening to the orchestral version. There are elements that a non-professional like me would never fully get without this video, such as the introduction of D, the Neapolitan, and the reference to Handel. I'm very grateful, and I hope this video is going to be followed by many of its kind.
such a great video! I attended a performance of the liszt transcription on the day of the anniversary, but of course it was impossible to catch the little moments like that "tritone substitution" you talked about here! the soap opera format is great, if it gives you the time to go into such detail like this. looking forward to more :)
Really looking forward to the next video. And to the analysis of the second movment. And the first half of the 4th movement. How he starts with an explosion of sound with the whole orchestra. Like he's bashes himself in the head to get some melody, and the other movents try to squeese in, like "try me, try me" until the double basses takes command, and says; "How about this little tune" 😄In fact, I have different stories in each movement running in my head when I listen to them.
The Tondichter! He knew the last wonder before the grave, he led captivity captive, and his courage and refusal to despair have saved countless numbers of those of us who have had to suffer.
Yes! Please do a deep dive on the entire work. I often felt the very beginning with the 5ths reminded me of Creation itself, open to all possibilities, then the thundering theme is the voice of God full of terrifying and towering judgement as the unfathomable awesomeness of being is created. We mere humans can only bow in humility. And I’m not even religious!
Very interesting analysis, thank you. I really would like to hear this series continue. My favourite part of the first movement is the beginning of the development where he starts to shift the key of the opening, just before the bassoon solo.
Just a week ago, Australia’s ABC (the antipodean equivalent of the UK’s BBC) announced the results of a listener poll of the top 100 “feel good” works, spanning compositions from the baroque, classical and romantic eras, as well as opera, film scores, and some from popular and non-Western musical traditions. Beethoven’s 9th symphony was voted in first place. Is it a coincidence that Beethoven was born in 1770 - the same year that James Cook became the first European to set foot on the Eastern Coast of the Australian Continent?
if anyone is interested, you can get the full list by searching Google for “abc classic fm top 100 feel good”. The top 10 (in reverse order) were:: 10. Leo Delibes: Lakmé 9. George Frideric Handel: Messiah, HWV 56 8. Edward Elgar: Enigma Variations, Op; 36 7. Karl Jenkins: The Armed Man: A Mass for Peace 6. Ralph Vaughan Williams: The Lark Ascending 5. George Gershwin: Rhapsody in Blue 4. Ludwig van Beethoven: Piano Concerto No. 5 in E-flat major, Op. 73 'Emperor' 3. Georges Bizet: The Pearl Fishers 2. Gustav Holst: The Planets, Op. 32 1. Ludwig van Beethoven: Symphony No. 9 in D minor, Op. 125 'Choral'
It’s funny, I watched another video on Beethoven‘s 9th recently that discussed the “der ganzen Welt” part of the libretto while showing a globe with Australia front and center. My first thought was, “Did Beethoven know Australia existed?”
@@DeflatingAtheism The existence of the Australian continent (or “great Southern land”) - though not its exact size and shape - was certainly known in Europe before Cook’s voyage, since the Dutch discovered the West coast of Australia centuries earlier, and had even reached Tasmania (Van Diemen’s Land, as they called it.) But the real question is whether Beethoven’s education was sufficiently broad to cover world geography. We tend to assume that, because Beethoven was a musical genius, he was probably also well-read and well-informed in other fields of knowledge. But his formal education was negligible, and it is doubtful whether he ever read a book that was not a musical score, or an anthology of poetry which could be set to music.
I was seven or eight years old when I first listened to Beethoven, and I have never stopped listening; I am now slightly older than he ever was (like you, Prof!). And I am totally fascinated by this Beethoven episode around his 9th symphony. May I hereby ask, with dangerously maniacal eyes: Please. Do. Give us the rest! I mean it, sir!🎵
In case nobody has said it yet: your pronunciation of "Theater am Kärtnertor" was very good! Liszt was superb at arranging works for piano, I'm impressed every time. (and yes, a second part would be great!)
Thank you! Yes, I've mentioned in a comment below that Horowitz said, "“I deeply regret never having played Liszt's arrangements of the Beethoven symphonies in public - these are the greatest works for the piano - tremendous works - every note of the symphonies is in the Liszt works.”
@@themusicprofessor It‘s something funny I noticed while listening to the Lizst transcriptions… a piano transcription of an orchestral Beethoven sonata-allegro movement… doesn’t sound like a Beethoven piano sonata!
No, it really doesn't. I've never been convinced by the old argument that Beethoven's big piano sonatas (e.g. Hammerklavier) seem orchestral. Actually, I think they're profoundly pianistic. The miracle of Liszt's transcriptions is that he somehow turns orchestral music into absolutely convincing piano music.
Very nice. Your enthusiasm, combined with depth of knowledge, makes an irresistible presentation. More, please! I was delighted that you spoke of the harmonic series, something many skilled musicians know nothing about. Do you have any experience with music tuned in Just Intonation?
When he presented the Eroica, that was already the greatest symphony that had ever been composed. After that, only he could beat it. Since then, the Symphony has become a footnote to Beethoven.
Well - perhaps a bit more than a footnote! It has got some of his greatest music in it. (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-uztVKbVwmx4.htmlsi=Wf0IJPszEYcu1vmj)
He's the master! Horowitz thought them the best piano works of all (“I deeply regret never having played Liszt's arrangements of the Beethoven symphonies in public - these are the greatest works for the piano - tremendous works - every note of the symphonies is in the Liszt works.”) He would have had to be about 120 years old to get a decent recording of him. Sad that we don't have Busoni either. This recording by one of Liszt's pupils gives an indication possibly...a wonderful sound: ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-JJpNC0js0u8.html
@@themusicprofessor I agree, his transcriptions are masterful, not just of Beethoven but Berlioz and Wagner, etc. I suppose the students do give an indication of how the maestro might've performed, but we are left all the poorer for not having Liszt and Chopin and so many others on record. And yet, what we have is the compositions at least. And therein is their immortality. I'm sure you've seen this but going to post for those who haven't ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-pnSBQVRDbdw.html&ab_channel=DanieleDerelli
Thank you for taking a fresh look at the Ninth. Funny, but the beginning reminds me of the Matrix's Red Pill vs Blue Pill; the red pill (1st theme) and blue pill (2nd) being metaphorical terms representing a choice between the willingness to learn a potentially unsettling or life-changing truth ( taking the "red pill") or remaining in the contented experience of ordinary reality with the "blue pill" (the pleasure principle). I'd also like to hear how Beethoven transforms these themes, because so often we're preoccupied with ‘materials,’ i.e., chords, rhythms, instrumentation. These things matter, of course, but in the hierarchy of music, they are nowhere near the top. The most important thing, in my view, at least, is not the materials, it’s the transformation of those materials over time. It’s the story. That’s what listeners respond to. Where Beethoven exercises his individuality and produces a distinctive piece of music is in the trajectory of his materials: what happens. So could you cover a little of that, too, please?
Yes please continue. But.. please slow down the speed of your explenations. For me as a non acedemic music lover it is difficult to follow although I understand to listen to the music professor. Thanks for your great piece of work.
I wonder how vital undamaged sound hearing is to a musician's career? I'd say very much so. It determines how high up in the harmonic series they are able to operate on, creating those luscious tone colors & harmonies. Of course Beethoven was already a master musician when his began to fail.
This 'indepth analysis' is excellent, for those of you out there who want to watch some content more similar to this informative video, i recommend the beethoven symphony analysis series on '"Chairat Chongvattanakij" channel on youtube.
As a pianist, symphonic music sort of washes over me, but looked at through these wonderful transcriptions by Liszt, I can get to grips with the musical ideas so much better! I think I'm going to invest some time in listening to piano transcriptions of all the symphonies. ANy you recommend? (Gould plays the 1st movement on his Silver Jubilee album, which always worked for me). Thanks for everything--great content as always.
Thank you! Horowitz said, "“I deeply regret never having played Liszt's arrangements of the Beethoven symphonies in public - these are the greatest works for the piano - tremendous works - every note of the symphonies is in the Liszt works.” So I think it's fair to say they're all marvellous (and all available in a relatively inexpensive Dover publication). But all Liszt's transcriptions are fab. There's a magnificent (if difficult) one of Berlioz' Symphonie Fantastique and also Wagner's Liebestod from Tristan & Isolde.
@@themusicprofessor I'll give them a try: even if I butcher them, as is my wont, I'll still appreciate the symphonies more at the end of it. Thanks again.
This will be SO interesting and helpful to hear the next part. I’ve played music through school and then studied guitar after college. I have to say, honestly, that I really don’t get turned on by “classical” music. It just doesn’t land anywhere. Part of the reason is that we went from this great, strong opening to what looks to be this frilly little section about to come up. And, with not enough information to set “me” up to want to flip to it. So, I’m very intrigued to learn more and see if I can’t develop an appreciation. But, looking at this as more of a story (as you said!) almost like the movie could be in your mind while the orchestra plays the soundtrack perhaps is the right way to experience s symphony-as opposed to listening to a song. Thank you!
I'll try to explain the "frilly section"! The classical tradition, from which Beethoven came, established a symphonic argument through the contrast of thematic material. They would normal start with an assertive theme to establish the tonality, and then contrast that with more lyrical material (usually in the dominant key). This contrast of themes, characters and tonalities becomes the basis for dramatic development and finally recapitulation and reconcilliation of themes. It is very like a drama, or like a philosophical argument. You start out with oppositions, you exploit and develop the tensions and then you reconcile them at the end.
@@themusicprofessor Thank You! I will endeavor to put myself in the mins of the listener back then. Adding the detail of everyone in their furs huddled for hours was really so helpful to draw the students into the story of the music. The “sheet music” is so great. 3 way teaching!
Would you consider analyzing Wagner’s symphony in C? He wrote it when he was 19 apparently and it’s not fully flushed out or perfect, but I can’t stop listening to it would love to hear what you had to say of it given that context I repeatedly come back to rewatch your vids, so many insights!
Thank you. By an interesting coincidence, I 'completed' a symphony Wagner was sketching at the end of his life (ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-xm2D1nmOQA4.htmlsi=YyrwYQxy57x9Xo-j). I'll have a listen to the C major symphony - I know he was very fond of it.
Every piece doesn't start the same...but he does like to start pieces with a big, loud chord. Like the missa solemnis, 7th symphony, and 5th piano concerto all seem to start in a similarish way. 3rd symphony as well sort of.
21:49 i thought the tritone sub was a b2, because its a tritone away from the dominant. in this case C would be the b2 of B. but it went to Gb instead. hmmm.
The progression is from C to F but instead of a standard perfect cadence, Beethoven then slips down to G flat (a tritone away) before approaching F chromatically.
At the moment I talk about it, it's a characteristically dramatic way of approaching the dominant (similar - in an entirely different way to his use of Neopolitan harmony at the start of the Moonlight sonata, for example). But you're right: with Beethoven, there's always a long range plan too. He likes to open out these 'flat' areas of tonality, and the 2nd subject is (unusually) in the related key of B flat (a key that also has a crucial role in the other movements, especially the finale).
Beethoven fans (and otherwise) of this channel should check out a rather strange film called Lecture 21 - great cast including John Hurt - it’s about an eccentric Music Professor giving a lecture (which is also an allegorical death ritual involving the secrets of ice?) on how Beethoven’s 9th is overrated (and one of the main characters is as outraged as you). It has low ratings because there’s not much for people who aren’t music nerds, and it takes its small audience and infuriates them with some pretty wild claims. A few other issues are handled clumsily as well. But I think there’s a bizarre diamond in the rough there that appreciators of this channel will enjoy. It’s stranger than I’ve described. Happy musicking comrades xx
The author has done some fantastic fiction writing on music before, perhaps most obviously with a kind of play called: Novecento: pianist. But in another book, Ocean Sea, he structures a chapter like a rondo. Doesn’t call attention to it, but music people know. Interesting chap, Alessandro Baricco. Thanks the these amazing vids. I love them very much. Feel like I’m at yours on Boxing Day having a chat. :)
Prof. , your thoughts on the primordial soup? should the strings tremolo in unison or purposefully imprecisely, (to my imperfect recollection of a documentary) as Furtwängler might have it? Thanks
I tend to have a very open-minded view about interpretation simply because amazing things happen when you have amazing performers and there is no 'fundamentalist' way of viewing any score. Of course the score and understanding what the composer means are absolutely essential - but I tend to think it's more about 'Spirit' than 'Letter'. Beethoven writes sextuplets and I'm pretty sure that he meant it to have a rhythm: a pulse of sextuplets. You can here that in Toscanini's recording and also in Karajan's, and in more modern 'historically informed performances (e.g. Gardiner's). But Furtwängler has more of a glowing tremelando feel which makes it more of a mystical kind of sound. I have to admit I think it sounds amazing! Possibly not what Beethoven meant but he captures the spirit of that opening. Famously his version and Toscanini's from the same period are absolutely dissimilar but they're both fab!
Thank you Professor for another fascinating video! The reaching back of composers to baroque influences/styles reminds me of how Rock musicians so often refer back to and invoke the Blues and also how Rock itself emerged out the Blues by continually expanding its vocabulary.
I recommend reading the so called Heiligenstadt Testament, witch is a letter, written 1802, from L. v. Beethoven to his brother Carl. The letter of a tormented soul, very moving.
Yes, please! It must be a lot of work, and it would take perhaps a dozen more to cover the rest of the symphony, but I find that your videos have the right amount of technical detail for me (rather rare, I’m afraid). Your style is effortlessly fluent, so perhaps it wouldn’t be too daunting…. Either way, thank you!
