Beethoven - Symphony No. 5, Op. 67 (1808)

Ludwig van Beethoven (baptised 17 December 1770 – 26 March 1827) was a German composer and pianist. A crucial figure in the transition between the classical and romantic eras in classical music, he remains one of the most recognized and influential musicians of this period, and is considered to be one of the greatest composers of all time. Please support my channel: Symphony No. 5 in C minor, Op. 67 (1804-1808) Dedication: Prince F. J. von Lobkowitz and Graf A. von Rasumovsky 1. Allegro con brio (0:00) 2. Andante con moto (7:35) 3. Scherzo. Allegro - Trio (17:12) 4. Allegro (22:29) Orchestre des Concerts Lamoureux conducted by Igor Markevitch Philips 1959 The Symphony No. 5 in C minor, Op. 67, also known as the Fate Symphony (German: Schicksalssinfonie), is a symphony composed by Ludwig van Beethoven between 1804 and 1808. It is one of the best-known compositions in classical music and one of the most frequently played symphonies, and it is widely considered one of the cornerstones of western music. First performed in Vienna’s Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as “one of the most important works of the time“. As is typical of symphonies during the Classical period, Beethoven’s Fifth Symphony has four movements. The Fifth Symphony premiered on 22 December 1808 at a mammoth concert at the Theater an der Wien in Vienna consisting entirely of Beethoven premieres, and directed by Beethoven himself on the conductor’s podium.[4] The concert lasted for more than four hours. The two symphonies appeared on the programme in reverse order: the Sixth was played first, and the Fifth appeared in the second half.[5] The programme was as follows: The Sixth Symphony Aria: Ah! perfido, Op. 65 The Gloria movement of the Mass in C major The Fourth Piano Concerto (played by Beethoven himself) (Intermission) The Fifth Symphony The Sanctus and Benedictus movements of the C major Mass A solo piano improvisation played by Beethoven The Choral Fantasy . Hoffmann praised the “indescribably profound, magnificent symphony in C minor“: How this wonderful composition, in a climax that climbs on and on, leads the listener imperiously forward into the spirit world of the infinite!... No doubt the whole rushes like an ingenious rhapsody past many a man, but the soul of each thoughtful listener is assuredly stirred, deeply and intimately, by a feeling that is none other than that unutterable portentous longing, and until the final chord—indeed, even in the moments that follow it—he will be powerless to step out of that wondrous spirit realm where grief and joy embrace him in the form of sound....