Symphony No in Cm

There be many similarities between Beethovens Symphony No. 5 in C Mi zero(prenominal) and Mozart Symphony no. 40 In G Minor. For example, both work occupy super recognizable motives. These works have been played on commercials, In advertising, and in places most people cant even pinpoint. One of the main reasons is that these works carry strong motives that reoccur both rhythmically and melodically throughout the pieces. The opening four notes to Beethovens work may possibly be the most recognizable in all of music history.Throughout this constitutional piece, you hear the repeating and imitative polyphony of these four notes resounding throughout e really section. The French horns bellow this motive during the ontogenesis section, which creates a grandiose timbre Into the next section. Mozart Is not quite as demanding in his use of these motives, only rhythmically speaking it is very present. The repeating rhythm of two eighth notes and a stressed pull in note can be heard all throughout. They both use harmonic minor to fasten a stronger V to I resolution.Without this raised note, the progression Is Just not as convincing. They both force the new style of Classical music by employing more dynamics the long crescendos In the structure string lines create a more dramatic effect when reaching the climax of the phrase. Where as they both use the V to I cadence for a driving effect, Beethoven uses the diminished chord very effectively in some of his abrupt stops. The listener is left totally in suspense as to what will come next. Beethovens use of a motive Is unfailing.Almost every phrase Is an answer or unreal either directly reciprocating the previous melody or rhythm In every orchestral section. This creates more of a sense of urgency to get to the end of the lines. He also uses his orchestra a bit more effectively. From the opening sequence of notes bowed with severity in the low octaves of the stringed instruments, the listener is left with a f eeling of intensity about the piece. Mozart orchestration sounds a bit more light and airy. He uses many scales and runs that agree a nicer sound almost from the Baroque era.It reminds me of listening to contrapuntal lines from a Bach Fugue the virtuosity Is there, provided the passionate and emotional feelings are Mozart use of the brass section is not as big and tall as Beethovens is. French horns really stand out in Beethovens work It gives a more affecting sound that is different from the driving string sections. Whereas horns cannot be nearly as virtuosic in running lines, it is extremely effective to use them to bolster the grand theme heard. However, both composers utilize their woodwinds sections effectively.With the opening themes primarily impelled by strings, they both translator towards the middle of the pieces to sweeter melodies carried by the flutes and clarinets. Beethovens Symphony No. 5 In C Minor resonates more with me than does the other piece. It defines t he minor tonality more distinctly and makes it more of a dark piece, which I prefer more. I like his string writing more than that of the Mozart piece. I really whoop it up hearing the basses come above the top of the ensemble ND dominate the sections.This, of course, may be why I am a bass player at heart. I chances for a change in emotion. In movie scores, they use the big fully diminished chord spelled out in the entire orchestra as a suspense hanger he does the same thing in these giant crescendos and immediate stops. At one point, the piece modulates into its relative major which creates a sense of completion. Mozart doesnt do this it sounds like a serial of scales and runs that never comes to full fruition of a climax.