1^st Movement, Beethoven’s “Eighth Symphony”

            The 1^st Movement of Beethoven’s “Eighth Symphony” reveals his skill at integrating the Classical style of music with the Romantic style.  It seems apparent in this work that he was indeed composing in an era that saw the beginning of the latter style, while the former style was coming to an end.  As in Classical music there are the elements of the lyric slow movement, the dance like movement, and a powerful movement.  Beethoven, however, seems able to combine this form with some of the elements of the Romantic style.

            When Beethoven begins a dance like or lyrical section it always seems to build up into a more intense style.  One rhythm begins the movement, and then seems to give way while another takes the lead.  The song like sounds are continuously interrupted with the sense of agitation, or what Rowell “restless motion.”  (Rowell, p. 117)  It is as though there is a battle going on between the two factions of the piece; the more mellow, song like theme versus the more intense, restless faction.

            There is a sustained intensity throughout the movement.  Even though at times there seems to be a more restful and mellow interlude, these are relatively short, and always under the aura of anticipation of intensity.  This sense of agitation seems to be continuously heard in the music, even when all instruments are following the more song like theme.  Sometimes the intensity builds up in an almost mystical and challenging way.  As the movement goes from the mellow to the intense it seems to take on a spiritual aspect.  One that seems to be challenging the listener.   Not allowing him or her to be content with the flow of music, but rather causing the listener to use more of his or her musical appreciation to follow along with the theme.  The sense of “restless motion” throughout does not allow the listener’s emotions to sit still.

            Each section of the movement seems to be a miniature of the Classical style forged with the Romantic approach.  From the Classical tradition one can see that each section includes a powerful beginning, followed by a lyric slow section, which in turn leads to a dance like section, ending with an intense finale.  But it does not end there.  Instead Beethoven immediately goes into the next section, beginning the process over again.  In his transition from Classical to Romantic Beethoven includes the overriding intensity that is felt throughout the piece.

            Certainly, if Classical music was seen as less emotional then Beethoven’s “Eighth Symphony” could not be considered a pure Classical musical work.  From the very beginning the piece attacks the emotions of the listener.  You can almost envision Beethoven beating away at his piano as he works out each line of his composition.  And yet, throughout, the intensity and emotion is checked by the short interludes of lyrical, songlike music.  Finally ending less with brilliant intensity, and more with a quick yet somehow gradual, quite and relaxing finale.  The finale seeming to tell you that you may now calm down.  The intensity is over.  The piece is at an end.

            There is not a clear rhythmic flow in this piece.  Rather, it is much less predictible in its progression; actually presenting less of a flow and more distinction of the various instruments.  Whereas Mozart’s “Minuet for String Quintet in D Major,” for example, combined the string instruments in such a way as to give them complimentary voices, Beethoven’s “Eighth Symphony” seems to allow each instrument and independent voice, while at the same time providing the complimentary sounds.  At times these instrumental voices seem to be talking to each other, taking on the aspect of a musical repartee, yet always seemly coming back to reunite with each other.

            There is a recurring theme throughout the piece, but it is so disjointed, or “unhooked” and spread out that one has a tendency to forget or even overlook the fact that a theme is even present.  This is an aspect of the piece that gives it the look of the Romantic style.  At times it seems as though there are two themes, one played out with intensity, the other more lyrically.  And then, only occasionally, as though it is hard to break away from the Classical tradition, the two themes seems to play out together.