Lucky Number Eight

Who knew?

This blog has quickly turned into a public expression of my mixed relationship with Ludwig van Beethoven.

I recently attended the symphony where they played two Stravinsky overtures, Beethoven's 8th Symphony, and the headliner was Beethoven's Piano Concerto No. 5 in E-flat major. I thought I went to see and enjoy the Emperor concerto. What a surprise!

Are you familiar with the 8th Symphony? It premiered in a concert with his furious and wonderful 7th symphony, and was not received well. Next to each other, the 8th seems tame and quiet, nothing like the reputation Beethoven had attained for himself. Apparently Beethoven's deafness was pretty serious but he still conducted the premeir (though the orchestra didn't follow him, following the principle violin instead). It was critically and popularly a disappointment. Interestingly enough, Beethoven said the poor reviews were because "the 8th is so much better."

I completely agree. This is one of Beethoven's finest works. The first movement is a perfect example of sonata form with the climax in the recapitulation rather than the development. Typical of Beethoven, it has a large coda. The second movement is a charming slow-movement sonata form. Interestingly enough, Beethoven has a minuet and trio as a third movement, a normality that was obsolete at this point. Tchaikovsky called the fourth movement one of the greatest symphonic masterpieces of Beethoven. It ends in a remarkable sonata-rondo form where Beethoven explores some of his most dramatic and daring musical experiments.

Being almost entirely unaware of this piece before it was a delight to listen to, and one of my favorite major Classical-era works. Please do yourself a favor and have a listen.

(also, the Emperor concerto is still amazing. Mvt. II remains one of my favorite Classical-Era pieces ever, and one of the most important works of all time.