Beethoven - Symphony No. 5 (Destiny) / Remastered (rr: Herbert von Karajan, Berliner Philharmoniker)

Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
Ludwig van Beethoven (1770-1827) Symphony No. 5 in C minor, Op. 67
00:00 I. Allegro con brio (2022 Remastered, Berlin 1962)
07:14 II. Andante con moto
17:16 III. Scherzo: Allegro - Trio
22:04 IV. Finale: Allegro

Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in 1962, at Berlin
New mastering in 2022 by AB for CMRR

Symphony No. 5 in C minor, Op. 67 // The opening bars of Beethoven's Fifth Symphony are among the most memorable in music history. Beethoven himself is said to have said of these four violent blows: "Thus destiny comes knocking at our door." However, while working on his masterpiece, the Master confided to his pupil and friend Carl Czerny that the idea for these opening notes had been inspired by the rhythmic song of the yellow bunting heard one day in the Vienna Prater (Vienna's Prater is a vast wooded park, nicknamed the Green Prater). However, even if the two versions complement each other, it's hardly surprising that audiences preferred the myth of fate knocking at the door, which fits in so well with the work's dynamic character, to Czerny's version. The sustained momentum of the first movement describes a dramatic conflict that is only resolved in the heroic finale, which has always fascinated listeners.

Beethoven's Fifth Symphony was dedicated to Prince Lobkowitz and Count Razumovsky. The "Destiny" symphony was written while Beethoven was going through the painful period when he realized he was deaf. The numerous drafts of the Fifth Symphony indicate that this composition required considerable work on the part of its author. Beethoven worked on it for over five years. Even the apparently simple opening bars underwent several transformations.

The work was completed in March 1808, and the first performance took place on December 22 of the same year, at the Theater An Der Wien. At the same concert, the Pastoral Symphony was also performed. This symphony was named "Destiny" after a remark Beethoven made to his friend Schindler about the main theme of the first movement: "This is how Destiny knocks at the door." On November 16, 1801, Beethoven wrote to his friend Franz Wegeler: "I will seize Fate by the throat. It will never break me." The symphony is generally thought to reflect Beethoven's dogged struggle against Fate, and the victory he ultimately achieved. Hoffmann said of the work: "This last symphony, the best known and one of the most appreciated of the great musician's works, was the result of a fairly long period of trial and meditation, as the sketch sheets testify. It has its equals in beauty, but nowhere could one better observe the power of this musical genius, intellectual and profoundly expressive, classical in form and romantic in content, opening up to the astonished imagination the empire of the colossal and the immense."

The rehearsals leading up to the first performance were not easy for either the composer or the musicians. On one occasion, Beethoven made so many comments to the orchestra members that they eventually refused to continue rehearsing with him; they even refused to play in his presence, and Beethoven had to stand in an adjoining room for the rest of the rehearsal, angrily walking up and down while the musicians rehearsed this "new and strange" composition alone. Such rehearsals could only result in a poor first performance, and even a year later, at a concert in Dresden, the symphony was so poorly played that it met with no success. It was only at a performance at Leipzig's Gewandhaus that it was warmly applauded, as it has been ever since.

COMPLETE PRESENTATION: LOOK THE FIRST PINNED COMMENT

Beethoven: Missa Solemnis in D Major Op. 123 (Herbert von Karajan)

[classicalmusicreference]

Album available // Beethoven: The 9 Symphonies by Herbert von Karajan (2024 Remastered, Berlin 1962)
Ludwig van Beethoven (1770-1827) Symphony No. 5 in C minor, Op. 67
00:00 I. Allegro con brio (2022 Remastered, Berlin 1962)
07:14 II. Andante con moto
17:16 III. Scherzo: Allegro - Trio
22:04 IV. Finale: Allegro

Berliner Philharmoniker
Conductor: Herbert von Karajan
Recorded in 1962, at Berlin
New mastering in 2022 by AB for CMRR

Symphony No. 5 in C minor, Op. 67 // The opening bars of Beethoven's Fifth Symphony are among the most memorable in music history. Beethoven himself is said to have said of these four violent blows: "Thus destiny comes knocking at our door." However, while working on his masterpiece, the Master confided to his pupil and friend Carl Czerny that the idea for these opening notes had been inspired by the rhythmic song of the yellow bunting heard one day in the Vienna Prater (Vienna's Prater is a vast wooded park, nicknamed the Green Prater). However, even if the two versions complement each other, it's hardly surprising that audiences preferred the myth of fate knocking at the door, which fits in so well with the work's dynamic character, to Czerny's version. The sustained momentum of the first movement describes a dramatic conflict that is only resolved in the heroic finale, which has always fascinated listeners.

Beethoven's Fifth Symphony was dedicated to Prince Lobkowitz and Count Razumovsky. The "Destiny" symphony was written while Beethoven was going through the painful period when he realized he was deaf. The numerous drafts of the Fifth Symphony indicate that this composition required considerable work on the part of its author. Beethoven worked on it for over five years. Even the apparently simple opening bars underwent several transformations.

The work was completed in March 1808, and the first performance took place on December 22 of the same year, at the Theater An Der Wien. At the same concert, the Pastoral Symphony was also performed. This symphony was named "Destiny" after a remark Beethoven made to his friend Schindler about the main theme of the first movement: "This is how Destiny knocks at the door." On November 16, 1801, Beethoven wrote to his friend Franz Wegeler: "I will seize Fate by the throat. It will never break me." The symphony is generally thought to reflect Beethoven's dogged struggle against Fate, and the victory he ultimately achieved. Hoffmann said of the work: "This last symphony, the best known and one of the most appreciated of the great musician's works, was the result of a fairly long period of trial and meditation, as the sketch sheets testify. It has its equals in beauty, but nowhere could one better observe the power of this musical genius, intellectual and profoundly expressive, classical in form and romantic in content, opening up to the astonished imagination the empire of the colossal and the immense."

The rehearsals leading up to the first performance were not easy for either the composer or the musicians. On one occasion, Beethoven made so many comments to the orchestra members that they eventually refused to continue rehearsing with him; they even refused to play in his presence, and Beethoven had to stand in an adjoining room for the rest of the rehearsal, angrily walking up and down while the musicians rehearsed this "new and strange" composition alone. Such rehearsals could only result in a poor first performance, and even a year later, at a concert in Dresden, the symphony was so poorly played that it met with no success. It was only at a performance at Leipzig's Gewandhaus that it was warmly applauded, as it has been ever since. Berlioz recounts that Maria Malibran, known as 'La Malibran', was so moved by the symphony that she had to be carried out of the concert hall. On the other hand, the composer Lesueur said to Berlioz at the end of the same concert: "Let me out, I need air! I can't believe it! Wonderful! It disturbed me so much that when I tried to put on my hat, I couldn't find my head, you mustn't make music like that!" To which Berlioz replied, "Don't worry, dear Master, we won't make much of it." When Mendelssohn played one of the fragments of the Fifth Symphony before Goethe, the latter declared, "It's frightening... insane. You'd expect the house to fall down!"

I. Allegro con brio. This is undoubtedly one of the most controversial of all symphonic movements. The main theme is built not only on the short "Fate" motif with which the movement begins, but also on the melodic phrase introduced shortly afterwards. Yet the Fate motif is so tenacious that it intertwines with the accompaniment of the second theme. Beethoven upsets all the conventions of classical balance, provoking the most extreme dissonances and contrasts. The rhythmic idea must triumph above all else. It concentrates, organizes and deploys a cyclical theme throughout the orchestra. The first movement is generally regarded as one of music's greatest miracles.
II. Andante con moto. In this movement, variations are combined with a march-like motif which, in a way, foreshadows the tone and spirit of the last movement. The movement is based on two distinct elements, one presented by the strings and the other by the clarinets and bassoons. This multiplies the possibilities of rhythmic and harmonic development.
III. Scherzo: Allegro - Trio. The main part of this unusual scherzo begins with a pianissimo melody rising from the double basses and cellos, and meets a sort of agitated march-like theme played on the horns. This last theme is built on a rhythm reminiscent of the Fate motif. The movement's internal complexity explores a variety of sound sources, including the revolutionary use of timpani, which assume a quasi-concerting role.
The middle section, a fugue-like trio, features a grotesque theme; the simulated running reminded Berlioz of the "hopping of an elephant". After the 'pizzicato' repetition of the main theme, the intensity of the music weakens and an atmosphere of tense expectation sets in. A rhythm, reminiscent of one in the first movement, is kept 'pp' by the timpani, and the violins are heard above a long-held note that seems to announce the imminence of an event. At the end, a vertiginous crescendo occurs, and the entire orchestra leads us, without interruption, to the last movement.
IV. Finale: Allegro. This is a triumphal march. It is said that, on hearing the beginning of this movement, a veteran of Napoleon's Guard rose to his feet and shouted, "It's the Emperor!" The impression produced is one of gripping power, triumphant joy and certainty, an impression truly unique in the history of music. The movement is built on two themes of equal importance, but the march theme from the third movement also reappears, without changing the character of the brilliant finale. The Fate motif of the first movement was used during the Second World War as a symbol of Victory (in Morse code . . . stands for V). Symphony No. 5 concludes with an irresistible march rhythm and triumphant fanfare over a C Major chord. The triumph Beethoven depicts here could well be the ultimate personal victory of the accomplished human being, reconciled with his destiny and in harmony with God.

Beethoven: Missa Solemnis in D Major Op. 123 (Herbert von Karajan)

[Brooder]

When Beethoven was in Heiligenstadt doing what most human beings do...lamenting his lot in life, contemplating suicide...he chose life, he chose beauty.  His 5th is his testament to life, joy beauty, and victory. So await the glory of those Trumpets in the final movement, dear brothers...that grand moment when the darkness fades, and the light of God pervades!❤💫 🌞 ☀️

[mauryq]

Karajan's best recording of this work

[classicalmusicreference]

Symphony No. 5 in C minor, Op. 67 // The opening bars of Beethoven's Fifth Symphony are among the most memorable in music history. Beethoven himself is said to have said of these four violent blows: "Thus destiny comes knocking at our door." However, while working on his masterpiece, the Master confided to his pupil and friend Carl Czerny that the idea for these opening notes had been inspired by the rhythmic song of the yellow bunting heard one day in the Vienna Prater (Vienna's Prater is a vast wooded park, nicknamed the Green Prater). However, even if the two versions complement each other, it's hardly surprising that audiences preferred the myth of fate knocking at the door, which fits in so well with the work's dynamic character, to Czerny's version. The sustained momentum of the first movement describes a dramatic conflict that is only resolved in the heroic finale, which has always fascinated listeners.

Beethoven's Fifth Symphony was dedicated to Prince Lobkowitz and Count Razumovsky. The "Destiny" symphony was written while Beethoven was going through the painful period when he realized he was deaf. The numerous drafts of the Fifth Symphony indicate that this composition required considerable work on the part of its author. Beethoven worked on it for over five years. Even the apparently simple opening bars underwent several transformations.

The work was completed in March 1808, and the first performance took place on December 22 of the same year, at the Theater An Der Wien. At the same concert, the Pastoral Symphony was also performed. This symphony was named "Destiny" after a remark Beethoven made to his friend Schindler about the main theme of the first movement: "This is how Destiny knocks at the door." On November 16, 1801, Beethoven wrote to his friend Franz Wegeler: "I will seize Fate by the throat. It will never break me." The symphony is generally thought to reflect Beethoven's dogged struggle against Fate, and the victory he ultimately achieved. Hoffmann said of the work: "This last symphony, the best known and one of the most appreciated of the great musician's works, was the result of a fairly long period of trial and meditation, as the sketch sheets testify. It has its equals in beauty, but nowhere could one better observe the power of this musical genius, intellectual and profoundly expressive, classical in form and romantic in content, opening up to the astonished imagination the empire of the colossal and the immense."

The rehearsals leading up to the first performance were not easy for either the composer or the musicians. On one occasion, Beethoven made so many comments to the orchestra members that they eventually refused to continue rehearsing with him; they even refused to play in his presence, and Beethoven had to stand in an adjoining room for the rest of the rehearsal, angrily walking up and down while the musicians rehearsed this "new and strange" composition alone. Such rehearsals could only result in a poor first performance, and even a year later, at a concert in Dresden, the symphony was so poorly played that it met with no success. It was only at a performance at Leipzig's Gewandhaus that it was warmly applauded, as it has been ever since. Berlioz recounts that Maria Malibran, known as 'La Malibran', was so moved by the symphony that she had to be carried out of the concert hall. On the other hand, the composer Lesueur said to Berlioz at the end of the same concert: "Let me out, I need air! I can't believe it! Wonderful! It disturbed me so much that when I tried to put on my hat, I couldn't find my head, you mustn't make music like that!" To which Berlioz replied, "Don't worry, dear Master, we won't make much of it." When Mendelssohn played one of the fragments of the Fifth Symphony before Goethe, the latter declared, "It's frightening... insane. You'd expect the house to fall down!"

I. Allegro con brio. This is undoubtedly one of the most controversial of all symphonic movements. The main theme is built not only on the short "Fate" motif with which the movement begins, but also on the melodic phrase introduced shortly afterwards. Yet the Fate motif is so tenacious that it intertwines with the accompaniment of the second theme. Beethoven upsets all the conventions of classical balance, provoking the most extreme dissonances and contrasts. The rhythmic idea must triumph above all else. It concentrates, organizes and deploys a cyclical theme throughout the orchestra. The first movement is generally regarded as one of music's greatest miracles.
II. Andante con moto. In this movement, variations are combined with a march-like motif which, in a way, foreshadows the tone and spirit of the last movement. The movement is based on two distinct elements, one presented by the strings and the other by the clarinets and bassoons. This multiplies the possibilities of rhythmic and harmonic development.
III. Scherzo: Allegro - Trio. The main part of this unusual scherzo begins with a pianissimo melody rising from the double basses and cellos, and meets a sort of agitated march-like theme played on the horns. This last theme is built on a rhythm reminiscent of the Fate motif. The movement's internal complexity explores a variety of sound sources, including the revolutionary use of timpani, which assume a quasi-concerting role.
The middle section, a fugue-like trio, features a grotesque theme; the simulated running reminded Berlioz of the "hopping of an elephant". After the 'pizzicato' repetition of the main theme, the intensity of the music weakens and an atmosphere of tense expectation sets in. A rhythm, reminiscent of one in the first movement, is kept 'pp' by the timpani, and the violins are heard above a long-held note that seems to announce the imminence of an event. At the end, a vertiginous crescendo occurs, and the entire orchestra leads us, without interruption, to the last movement.
IV. Finale: Allegro. This is a triumphal march. It is said that, on hearing the beginning of this movement, a veteran of Napoleon's Guard rose to his feet and shouted, "It's the Emperor!" The impression produced is one of gripping power, triumphant joy and certainty, an impression truly unique in the history of music. The movement is built on two themes of equal importance, but the march theme from the third movement also reappears, without changing the character of the brilliant finale. The Fate motif of the first movement was used during the Second World War as a symbol of Victory (in Morse code . . . stands for V). Symphony No. 5 concludes with an irresistible march rhythm and triumphant fanfare over a C Major chord. The triumph Beethoven depicts here could well be the ultimate personal victory of the accomplished human being, reconciled with his destiny and in harmony with God.

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[notaire]

Dramatische und wunderschöne Interpretation dieser ewigen und perfekt komponierten Sinfonie mit gut vereinigten und perfekt entsprechenden Tönen aller Instrumente. Der zweite Satz klingt besonders schön und echt beruhigend. Im Kontrast klingt der dritte Satz echt lebhaft und auch überzeugend. Endlich kommt der letzte Satz voller Dynamik und Begeisterung. Der intelligente und unvergleichliche Maestro dirigiert das weltklassige Orchester im relativ schnellen Tempo und mit völlig effektiver Dynamik. Wunderbar und atemberaubend zugleich!

[roguegalaxy]

🎻🙇‍♀️”..Amazing!! Thank you for sharing 🌹✨

[classicalmusicreference]

Dear subscribers, we'd like to remind everyone that Youtube is a unique platform that allows us all to discover and learn for free. However, we have noticed a significant loss of sound quality between what we send and what we listen to at the time of final publication after youtube's audio compression. Youtube offers audio files up to AAC/Mp4 at 256 kbps, which is still very low compared with FLAC 16bits/44.1 Khz 24bits/96khz or 24bits/192khz Hi-Res and Hi-Fi from platforms such as Tidal, Qobuz, Amazon Music, Deezer, Apple Music (If proposed, remember to disable volume normalization)... We can only advise anyone who wants a lossless audio signal to discover it on youtube, but to have a subscription to one of the above-mentioned platforms. We used to buy vinyl and CDs. What's a $10 or $20/month offer to see the world's entire music library in your pocket? Think about it.

[daytonasp]

Thank you for sharing.
There was this record in the parents' house 55 years or more ago. Mother loved Karajan. It was the first symphony of Beethoven for me.
So nostalgic... (T-T)