{"id":44899,"date":"2024-07-06T18:43:36","date_gmt":"2024-07-06T16:43:36","guid":{"rendered":"http:\/\/7d099875-ff15-4818-b21d-25adad508460"},"modified":"2024-07-06T19:36:07","modified_gmt":"2024-07-06T17:36:07","slug":"beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back","status":"publish","type":"rss_feed","link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/rss_feed\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back\/","title":{"rendered":"Beethoven&#8217;s Fifth Symphony: the iconic work that begins with Fate&#8217;s hammer blows &#8211; and never looks back"},"content":{"rendered":"<p class=\"rssexcerpt\"><\/p><p class=\"rssauthor\">By <\/p><p class=\"rssbyline\">Published: Saturday, 06 July 2024 at 16:43 PM<\/p><hr class=\"no-tts wp-block-separator\"\/><?xml version=\"1.0\" encoding=\"UTF-8\" standalone=\"yes\"?>\n<!DOCTYPE html PUBLIC \"-\/\/W3C\/\/DTD HTML 4.0 Transitional\/\/EN\" \"http:\/\/www.w3.org\/TR\/REC-html40\/loose.dtd\">\n<html><body><p>The four notes that open the Fifth Symphony by <a href=\"http:\/\/www.classical-music.com\/topic\/ludwig-van-beethoven\"><strong>Ludwig van Beethoven<\/strong><\/a> have a claim to being the most famous musical motto ever written. \u2018Fate knocking at the door\u2019, is how Beethoven is reported to have described the theme to his secretary and (not entirely reliable) biographer, Anton Schindler.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Beethoven: Symphony No. 5, First movement (Benjamin Zander, Boston Philharmonic Orchestra)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/n3EiRynr1Us?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>It took, however, a little time for this <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-symphony\">symphony<\/a><\/strong>\u2019s genius to be recognised. Premiered at the infamous Theatre an der Wien concert of 1808, one reviewer described the piece as \u2018large, very protracted, overlong\u2019, and in general it elicited little comment. It took an endorsement from the <em>Allgemein musikalische Zeitung<\/em> a year later to kickstart its popularity. <\/p><ul><li><a href=\"http:\/\/www.classical-music.com\/article\/five-essential-works-beethoven\"><strong>Five essential works by Beethoven<\/strong><\/a><\/li><li><a href=\"https:\/\/www.classical-music.com\/features\/composers\/how-did-beethoven-cope-going-deaf\/\"><strong>How did Beethoven cope with going deaf?<\/strong><\/a><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-glowing-beams-shoot-through-this-realm-s-deep-night\">\u2018Glowing beams shoot through this realm\u2019s deep night\u2019<\/h2><p>An anonymous reviewer, who turned out to be the influential poet, novelist and composer ETA Hofmann, described in ecstatic language the music\u2019s effect, including \u2018glowing beams [that] shoot through this realm\u2019s deep night.\u2019<\/p><p>Commissioned by Count Oppersdorff, Beethoven started to sketch ideas for the Fifth in 1805 as a follow-up to the <a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-beethovens-symphony-no-3-eroica\/\"><strong><em>Eroica<\/em><\/strong><\/a>, but set it aside to write what became the <a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-beethovens-symphony-no-4\/\"><strong>Fourth<\/strong><\/a>. The bulk of the work ended up taking place in 1807-1808; it was written alongside the <a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-beethovens-symphony-no-6-pastoral\/\"><strong>Sixth Symphony<\/strong><\/a>, with which it was premiered, and also the Fourth Piano Concerto.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Beethoven - Symphony No. 5 (Proms 2012)\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/jv2WJMVPQi8?start=3&amp;feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><h2 class=\"wp-block-heading\" id=\"h-an-astonishing-tragedy-to-triumph-trajectory\">&#8216;An astonishing tragedy-to-triumph trajectory&#8217;<\/h2><p>That concerto opens with the same rhythmic motto, but its mood couldn\u2019t be more different. While the concerto opens in complete serenity, in G major, the Fifth Symphony is in the turbulent <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/musical-keys-explained\">key<\/a><\/strong> of C minor that Beethoven so favoured (see also the &#8216;Path\u00e9tique&#8217; and final Piano Sonatas, the <em>Coriolan<\/em> <strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-overture\">Overture<\/a><\/strong>, and the &#8216;Funeral March&#8217; movement of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-beethovens-symphony-no-3-eroica\">Eroica<\/a><\/strong> Symphony, among many others). <\/p><p>Over its four movements, an astonishing tragedy-to-triumph trajectory is traced. Even more striking is how Beethoven uses his opening motif to construct a taut first movement in which the motto is heard in nearly every bar.<\/p><p>The <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-andante\">Andante<\/a><\/strong><\/em> shares something of the <a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-beethovens-symphony-no-6-pastoral\/\"><strong>Sixth Symphony<\/strong><\/a>\u2019s sunny nature, while the <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-scherzo\">Scherzo<\/a><\/strong><\/em> has a suspenseful sense of mystery. It segues into the blazing C major finale, a brilliantly-handled passage revealing Beethoven to be a master of transitions.<\/p><ul><li><strong><a href=\"http:\/\/www.classical-music.com\/article\/6-best-beethovens-overlooked-works\">Six of the best: Beethoven&#8217;s overlooked works<\/a><\/strong><\/li><li><a href=\"http:\/\/www.classical-music.com\/article\/best-recordings-beethovens-moonlight-sonata\"><strong>The best recordings of Beethoven&#8217;s Moonlight Sonata<\/strong><\/a><\/li><\/ul><p> And while it wasn\u2019t completely new to link the final two movements, Beethoven came up with the original idea of recalling the <em><strong><a href=\"https:\/\/www.classical-music.com\/features\/musical-terms\/what-scherzo\">Scherzo<\/a><\/strong><\/em> in the finale, with delicate strings and then assorted wind stilling, momentarily, the full force of the orchestra.<\/p><p>Even more influential was the extra-long coda, ending with a sequence hammering home a victorious C major. This shift of emphasis towards the end of the symphony, turning it into an overall journey, was an idea that composers played with for years to come \u2013 think of <a href=\"http:\/\/www.classical-music.com\/topic\/pyotr-ilyich-tchaikovsky\"><strong>Tchaikovsky<\/strong><\/a>\u2019s Fourth, <a href=\"https:\/\/www.classical-music.com\/topic\/johannes-brahms\"><strong>Brahms<\/strong><\/a>\u2019s First or any of <a href=\"http:\/\/www.classical-music.com\/topic\/anton-bruckner\"><strong>Bruckner<\/strong><\/a>\u2019s symphonies.<\/p><ul><li><strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/20-greatest-symphonies-all-time\">The 20 greatest symphonies of all time<\/a><\/strong><\/li><\/ul><h2 class=\"wp-block-heading\" id=\"h-beethoven-symphony-no-5-best-recording\">Beethoven Symphony No. 5 best recording<\/h2><p>So many to choose from. But, when push comes to shove, we always return to the iconic 1970s performance from the Vienna Philharmonic Orchestra (one of the <strong><a href=\"https:\/\/www.classical-music.com\/articles\/worlds-best-orchestras\">best orchestras in the world<\/a><\/strong>) and Carlos Kleiber (one of the <strong><a href=\"https:\/\/www.classical-music.com\/features\/artists\/20-greatest-conductors-all-time\">greatest conductors of all time<\/a><\/strong>). <\/p><p>Voted in at No. 3 in <em>BBC Music Magazine<\/em>\u2019s list of <a href=\"https:\/\/www.classical-music.com\/features\/recordings\/50-greatest-recordings-all-time\/\"><strong>the 50 greatest recordings of all time<\/strong><\/a>, this Kleiber performance has a compelling intensity and electric energy that is utterly suited to the emotional world of the Beethoven Fifth Symphony. Kleiber didn\u2019t often go into the recording studio, but when he did the results were entirely unforgettable, with the Vienna Philharmonic Orchestra on blistering form here.<\/p><p>Here&#8217;s a sample of Kleiber at his magical best, by the way.<\/p><figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube wp-embed-aspect-16-9 wp-has-aspect-ratio\"><div class=\"wp-block-embed__wrapper\"><iframe loading=\"lazy\" title=\"Carlos Kleiber Beethoven Symphony No.4, Concertgebouw Amsterdam\" width=\"800\" height=\"450\" src=\"https:\/\/www.youtube.com\/embed\/-pmpyUOcTgQ?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen=\"\"\/><\/div><\/figure><p>Add to all this the fact that it&#8217;s paired with an electrifying account of the exuberant, dance-infused <strong><a href=\"https:\/\/www.classical-music.com\/features\/works\/guide-beethovens-symphony-no-7\">Symphony No. 7<\/a><\/strong>, and you&#8217;ve got yourself an electrifying (and unmissable) recording.<\/p><p>Vienna Philharmonic Orchestra\/Carlos Kleiber <em>Deutsche Grammophon 447 4002<\/em><\/p><ul><li><strong><a href=\"https:\/\/www.amazon.co.uk\/dp\/B000001GPX\" target=\"_blank\" rel=\"noreferrer noopener nofollow\">Buy from Amazon<\/a><\/strong><\/li><\/ul><p><a href=\"https:\/\/www.classical-music.com\/tag\/beethoven-reviews\/\"><strong>Read reviews of the latest Beethoven recordings here<\/strong><\/a><\/p><p><em>Words by Rebecca Franks. This article first appeared in the December 2015 issue of BBC Music Magazine.<\/em><\/p> <\/body><\/html>\n<hr class=\"no-tts wp-block-separator\"\/>","protected":false},"excerpt":{"rendered":"<p>By Published: Saturday, 06 July 2024 at 16:43 PM The four notes that open the Fifth Symphony by Ludwig van Beethoven have a claim to being the most famous musical motto ever written. \u2018Fate knocking at the door\u2019, is how Beethoven is reported to have described the theme to his secretary and (not entirely reliable) [&hellip;]<\/p>\n","protected":false},"author":24,"featured_media":44900,"template":"","categories":[1,17],"acf":{"readingTimeMinutes":"3"},"uagb_featured_image_src":{"full":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/07\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back.png",1292,870,false],"thumbnail":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/07\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back-150x150.png",150,150,true],"medium":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/07\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back-300x202.png",300,202,true],"medium_large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/07\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back-768x517.png",768,517,true],"large":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/07\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back-1024x690.png",800,539,true],"1536x1536":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/07\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back.png",1292,870,false],"2048x2048":["https:\/\/c01.purpledshub.com\/uploads\/sites\/37\/2024\/07\/beethovens-fifth-symphony-the-iconic-work-that-begins-with-fates-hammer-blows-and-never-looks-back.png",1292,870,false]},"uagb_author_info":{"display_name":"importmanagerhub@sprylab.com","author_link":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/author\/importmanagerhubsprylab-com\/"},"uagb_comment_info":0,"uagb_excerpt":"By Published: Saturday, 06 July 2024 at 16:43 PM The four notes that open the Fifth Symphony by Ludwig van Beethoven have a claim to being the most famous musical motto ever written. \u2018Fate knocking at the door\u2019, is how Beethoven is reported to have described the theme to his secretary and (not entirely reliable)&hellip;","_links":{"self":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed\/44899"}],"collection":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/rss_feed"}],"about":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/types\/rss_feed"}],"author":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/users\/24"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media\/44900"}],"wp:attachment":[{"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/media?parent=44899"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/c01.purpledshub.com\/bbcmusicmagazine\/wp-json\/wp\/v2\/categories?post=44899"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}