The work is scored for twoflutes, twooboes, twoclarinetsin A, twobassoons, twohornsin D and G, twotrumpetsin D,timpaniandstrings
I'm going to assume you mean Beethoven's Fifth Symphony. The most unifying factor of Beethoven's fifth is the cyclical nature of the multi-movement piece. It features a reoccuring motif that is rhythmic rather than melodic. The recognizable rhythm: short, short, short, long, is a rhythm that exists all throughout the symphony (which is very strange and at the time, unprecedented). Most movements of a symphony are not connected. Beethoven used his Fifth Symphony to bridge the gap between movements. In arguably every movement of the Fifth (a little less in the 2nd movement) one can hear this unifying rhythm that connects the symphony nicely.
Beethoven tragically never heard the premiere performance of what is arguably his greatest symphony. However he was able to compose the symphony by sawing off the legs of his piano so he could rest the side of his head on the top it and hear the vibrations.
2
There is no 'flute clock symphony'. The works that he wrote for the 'flute clock' (Flötenuhr in German) are 32 very short pieces that are usually played on an organ by itself. However, he did write a symphony that is called 'The Clock' because of the rhythm of the second movement. You can hear it easily, it is Symphony #101 in D major, one of the famous set of 'London Symphonies'.
Beethoven was a genius and could hear all the music in his head.
Not at the moment I can't... ;) However, if you want to hear it I'd suggest searching for it on Youtube.
I Hear a Symphony was created on 28-09-22.
I Hear a Symphony - album - was created on 1966-02-18.
Whenever you are near me; I hear a symphony...
I hear a symphony when I see you. Let's all go to the symphony. Will your band have a symphony for back-up?
I'm going to assume you mean Beethoven's Fifth Symphony. The most unifying factor of Beethoven's fifth is the cyclical nature of the multi-movement piece. It features a reoccuring motif that is rhythmic rather than melodic. The recognizable rhythm: short, short, short, long, is a rhythm that exists all throughout the symphony (which is very strange and at the time, unprecedented). Most movements of a symphony are not connected. Beethoven used his Fifth Symphony to bridge the gap between movements. In arguably every movement of the Fifth (a little less in the 2nd movement) one can hear this unifying rhythm that connects the symphony nicely.
Beethoven tragically never heard the premiere performance of what is arguably his greatest symphony. However he was able to compose the symphony by sawing off the legs of his piano so he could rest the side of his head on the top it and hear the vibrations.
2
There is no 'flute clock symphony'. The works that he wrote for the 'flute clock' (Flötenuhr in German) are 32 very short pieces that are usually played on an organ by itself. However, he did write a symphony that is called 'The Clock' because of the rhythm of the second movement. You can hear it easily, it is Symphony #101 in D major, one of the famous set of 'London Symphonies'.
Beethoven was a genius and could hear all the music in his head.
I remember reading off of an album cover thirty or forty years ago that Beethoven quipped, "The Ninth Symphony has a Story, but no one will ever guess it!" It is perhaps impertinent to guess, buy mine is that his Ninth is his autobiography..writ large, of course. Beethoven's last string quartets might have been *personal*, as might have other chamber works, famously for example the "Moonlight Sonata", dedicated to an Italian diva, whose name has otherwise been lost, perhaps unfortunately, to history. But there is nothing personal about the Ninth. It is Beethoven imagining the perfection of humanity. So the last movement, obviously, is death and transfiguration amongst a host of choristers. Ergo, the first movement is Conception and Birth. In the Twenty-First Century (caps for us, aren't we important?), conception is taken for granted. Indeed, we even have CONTRA-conception. But in 1820, when Beethoven was thinking about Life, Conception was a Pretty Big Mystery. (That also made room for "immaculate conceptions" and other good stuff.) But it was a Big Mystery. So that's the basic idea of the first movement, with maybe labor pains when the tympani enter half-way through, beyond the Mystery of Conception. Then the first movement ends with the power of New Life. The second movement is Scherzo, Youth, and joyful childhood and adolescence. The third movement is maturity and old age. Hence the reversal of the classical positions of Scherzo and Adagio. The last movement, as I have guessed, is Death and Transfiguration. This all seems very obvious to me, but I'm sure Beethoven would be entertained to hear your interpretation, too.
he would feel more happy