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Лудвиг ван Бетховен: Симфония No 5, анализ от Джерард Шварц (част 3 и 4)

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third movement is very different because again coming from the tradition of Mozart and height and the third mom was supposed to be a minuet called minuet and trio the minuet part was a dance form in three not too fast and the trio part was called that because it was usually played by contrasting instruments so of them the first section was played many by the strings the trio would be with the woodwinds and you would have you know a trio you'd have a bass line and two treble lines oboe flewed and a bassoon or something like that and then you go back into the beginning again that was called a be a form so yeah at the very beginning and then you had the trio and then and even when it wasn't three instruments a trio we still call it a trio now Beethoven followed that form it was the initial material trio and the recapitulation or the a section again so what did he do that was unusual first of all it's a scared so scared so so faster it starts again with the lower instruments of the orchestra this time not the cellos and the violas but the cellos and the basses and the theme it's kind of mysterious this whole there very softly [Music] it leads to the in a sense of proclamation now what do you notice about that so the theme is is the theme from the schizo but it's the same rhythm isn't it three short and one long played by the horns and horns play it strong and then the full orchestra comes in and then it leads again back to this original theme that the cellos and basses play in mysterious way [Music] [Applause] [Music] and that gets somewhat developed and it leads us to to the trio section to the to the middle section of this section usually it's played by some contrasting instrument so if the piece starts with the cellos and the basses by now you'd figure the woodwinds or the violins or somebody would play that trio section in this case it's the cellos and basses again it's one of the more famous passages for cellos and basses in fact if you if you're a bass player and you go to an audition for an orchestra very often you'll play this because the clarity of pitch in and the quality of sound is very crucially important so this begins it's loud even though the tempo the speed of the movement is the same they're faster notes so it feels faster and there's a little what we call fugato so the cellos and basses started and as time goes on the violas come in the second violins come in first violins permit and then that's repeated and again it happens a second time and then the woodwinds join into this trio section eventually Beethoven does it again but the third time he does it it's all soft everything's soft and in fact with soft also in the case of the violins becomes more legato and smoother so again it's Speight Alma's checklist you know I did it aloud a few times not I do it soft and and maybe I should do it actually long rather than short and it's just it's just this incredible imagination gonna does he think that way I don't know but that's certainly the way it appears [Music] the schedules in three sections a ba so now we're back to a so this should just be a repeat during Mozart and Haydn's time very often they would just say back to the beginning and you do it again and stop well Beethoven didn't do that very often he did it on occasion for a symphony he did it second symphony he did he but in this symphony he doesn't but what he does with that melody he has the orchestra play it the mysterious pit Cecotto which means they plucked the strange it starts out with bassoon and instead of this heroic theme you know this remember this um instead of that you hear a cleric going and then you hear a noble plan so it's the same idea except it's all wrong soft short little notes not heroic at all and it goes like that continually it's all that way [Music] [Music] and then what does he do he has to tympani play the melody so the the the strings hold this this simple chord and the tippity goes and that instance becomes a melody even though it's a single note it's the tympani playing this and nothing happens until all of a sudden the violins play so what are they doing remember the opening theme they are just doing that over and over again and varying it slightly but it's still mysterious is still all soft nothing much happens and it's all suspended then in a short amount of time there's this huge crescendo and we have the triumphal last movie it is a remarkable moment to this time it's probably the most remarkable moment in music to have this suspension to have nothing happening and everybody's just waiting what what is he doing it's so soft what's gonna happen all of a sudden there's an explosion and people often talked about it from darkness to light remember the first movement was in C minor but now he's in C major so people talk about the transition from this minor to major as darkness to light also that the theme is a very obviously a very heroic theme played by the trumpets horns he adds piccolo he adds trombones he has contra bassoon [Applause] the second theme isn't so different from the first played by the horns still heroic the third thing changes a little bit it's a more Dolce more sweet theme but it too doesn't stay that way very long and it becomes again a nice strong theme and so now we have these three themes and we repeat that again [Music] then after that repeat a section we have the normal development section of of this and he uses those trombones and now not just for weight and brilliance but he uses them melodically as well he has a few piccolo solos the contra bassoon has a that's an important role and and and the development is quite extraordinary but what happens in the middle of the development is and it's going it's going like gangbusters and then all of a sudden you had these big big chords the same material from schism which is very much a three short and one long note can you imagine what it must have felt like in 1808 when an audience was sitting there hearing this great triumphal last moment and actually feels pretty comfortable and then he stops in the middle of it and just by repeating this one note that he could softer and softer and it becomes the Scherzo again it gives Beethoven the chance to extend the movement and repeat that great transition that he used from the scares of little asthma after that we have the recapitulation so we have exposition the first thing we have the big development and then we have this interlude of the skirt so coming back and the connection to the now recapitulation so all the material is brought back then at the end and as I mentioned there some solos for the trombones for the piccolo I mean you know he really extends the orchestra and then he leads to the coda the coda in this case is at a faster tempo it's a pesto tempo and again it ends triumphantly and it is without question one of the great masterpieces of symphonic music [Music] you you