Sushi as a Part of Japan Food Culture
Two of the greatest composers of classical symphonies in history were Wolfgang Amadeus Mozart and Ludwig Van Beethoven. They gave us two of the most recognized musical works in history, Mozart’s Symphony No. 41, and Beethoven’s Symphony No. 5. If we compare these two works, we will find influences in Beethoven’s work from the foundation provided by Mozart and Haydn’s previous public popularity. However, these two symphonies are not connected in any inspirational way. Outside of genre, these pieces are very different however, similarities can still be found. The execution of each work is completely different, but the basic components are essentially the same.
Both works start out with a movement in sonata form; giving a baseline for the progression of the music, evolving it, and then returning to its original form. This captures the attention of the audience because it is unpredictable. The audience feels as if they might miss something if they aren’t paying attention. This along with the use of fortissimo motifs give the audience some substance before launching into more precise lyrical movements later. Mozart uses 3 quick fortissimo outbursts to start his first movement and has respective lyrical responses to these each of these outbursts. Beethoven on the other hand produces two dramatic fortissimo motifs and then after the horn fanfares, launches into a long lyrical response ending in a coda. So, while we have the exact same basic components present in each first movement Mozart seems to have a back and forth between the fortissimo and the softer lyrical motifs, while in Beethoven’s case fortissimo captures the audiences attention and then takes a back seat to the piano while rearing its occasionally to keep the theme consistent.
The basic components of the first movement are essentially the same, but the presentation is entirely different. Even the instrumentation seems to be similar but is used very differently. Beethoven is known for using woodwinds in a very unique way. He often scored solo material for the flute, bassoon, or oboe to support the strings or emphasize a certain atmosphere. We can see this at the end of his first movement just before the coda. Mozart however, prefers to use tutti to establish the tone with little emphasis on the oboe or other woodwinds.
The following respective movements are very different in comparison to the similarities of the first. Mozart continues on with sonata form in his second movement while Beethoven switches to double variation form which suits his apparent love for codas. Beethoven uses this form to continue with his split theme that he began in the contrast of fortissimo and piano in movement one. The first theme in Beethoven’s second movement is the melody of strings with the support of the bass, and the second them again highlights the woodwinds with a variation of the first theme. Mozart on the other hand uses sonata form to continue his back-and-forth theme that is established in movement one.
In Beethoven’s case we can begin to see a progression in form from movement to movement in that he takes us from sonata form to double variation form then to a ternary aba form in movement three and takes us back to sonata form in movement four. Mozart takes a much less predictable but perhaps more traditional form progression in that he stays in sonata form for the first two movements then has a minuet and then a very diverse fourth movement where there are touches of allegro, sonata, and fugue forms throughout. Ultimately, if viewed through this lens these symphonies are nothing alike.
These are two of the most remarkable emotionally impactful symphonies I, or anyone else, has ever heard. However, Beethoven has a much more direct impact on me personally. Perhaps I have simple taste but his absolute command over the attention of the audience speaks to my personal taste in music much deeper than Mozart. There is no question about the content of Beethoven here, if one could lose interest or fall asleep during this piece such a person must be more like a vegetable than a person. There is an absolute authority to not only the content of the piece but also the structure. It is predictable but intriguing. Its like a joke that one knows the punchline to, but still listens to the delivery. It’s a story that has been told a thousand times but never gets old. Its like a favorite meal. Its simple, but undeniably powerful.
