If you're going to write a big symphony, you might as well make it the biggest one ever composed (at the time). We'd recommend turning the volume right up for the first movement to get a real appreciation of how wide Beethoven's dynamic range had become by this point. Beethoven knocked it together in four months and claimed it was better than the seventh (he never was a fan of his own audience), but it got a fairly 'polite' response on its premiere.

Clearly it was one of the composer's favourites (he called it 'my little symphony in F'), and it features some delightful themes. The eighth is something of a curio in the Beethoven canon. Neatly, that particular movement is based on the same rhythmic idea throughout, and has a curious peculiar quality to it that has made it one of the most popular of Beethoven's symphonic works. In fact, when it was premiered in 1813, the crowd got so excited that they demanded to hear the second movement again. Seemingly unable to put a foot wrong with his symphonies, the reaction he got from the seventh was predictably positive. 7 in A majorР”В«y this point in his life, Beethoven was churning out belter after belter. Consequently, we can hear babbling brooks and birdsong in the second movement, country dancing in the third and a full-on thunderstorm in the fourth. He was a keen walker and wanted to make this symphony reflect that, so much of the musical material actually sounds like a walk in the country. What's more, he took all his inspiration for the sixth directly from nature. If there was any doubt as to whether Beethoven was a romantic composer at heart, then the Pastoral symphony squashed it. Quiz: How well do you know Beethoven's 5th Symphony? > Symphony No. You'll know the first movement, but there's still loads to explore beyond that - go for the bonkers fourth movement for maximum excitement. In fact, those eight notes and the way they're played has become a musical hot potato - no-one seems to agree on how quickly to play them - but once you're past them, it's triumphantly full-blooded stuff. We've made it to the biggie, and one of the only works in history that has become defined by its first eight notes. Give the second movement a couple of listens - it might sound gentle, but after a while it reveals itself to be quite the melancholic masterpiece.

In fact, the fourth has some of Beethoven's most poignant writing in it. But that doesn't mean there isn't plenty to enjoy. From the off, where the third symphony was declamatory and brash, the fourth is subdued and moody. The trouble with writing something as bold as the 'Eroica' is that whatever comes next is bound to be a disappointment. And, presumably, rather annoyed whoever had to copy out the replacement. Oh, and the political/revolutionary thing? Beethoven initially dedicated the symphony to Napoleon, until Napoleon declared himself Emperor of the French, which made Beethoven tear up the dedication page in a huff. Then, as the epic movements progress, we hear what you might call 'classic' Beethoven. Just listen to the crash-crash of the opening - he's not messing about. The third symphony is the one that, everyone generally agrees, changed everything and kick-started the Romantic period in music. And by 'get interesting', we mean 'the rulebook gets incinerated in a political and revolutionary rage by a deaf genius'. This is where it starts to get interesting. It would be totally wrong to call Beethoven depressing, but his slow movements do tend to lay bare his more 'sensitive' tendencies and the second movement here usually clocks in at about ten minutes, so sit comfortably and bring a hanky. So, that means we get an exceptionally bold and dramatic opening, lightning-quick strings and, in the second movement, some seriously mournful moments. By this point, the Beethoven tics are starting to fall into place. Quick volume changes, explosive energy and the odd experiment (try the free-form opening of the fourth movement) - it's a promising start.Р”В«eethoven timeline part 1: 1770-1802 > Symphony No. However, aside from hints of Mozart and Haydn (he even nicks one of Haydn's themes in the finale), you can hear definite evidence of that blustering Beethoven we know and love. He was only about 25 when he finished this work, so it's understandable that he might not have completely found his voice yet. Now, don't panic, but if you're looking for Beethoven the revolutionary musical visionary, you might not find him here.

Beethoven 7th symphony wiki