The reason why Beethoven’s Symphony No. 7 is liked because of the theme of struggle and overcoming it to come out with ultimate triumph. In

The reason why Beethoven’s Symphony No. 7 is liked because of the theme of struggle and overcoming it to come out with ultimate triumph. In Symphony No. 7 Beethoven presents darkness with an absence of synchronization between musical notes in the beginning. To close the piece, he shows how the hero overpowers the darkness that has given itself through resolution. Likewise, Bach Brandenburg’s Concerto No. 5 in D Major is well-liked because it was the first time that the harpsichord had used in a concerto for anything other than the continuo. This piece of music where the keyboard indeed asserts itself into the spotlight. Generally, the one harpsichordist would accompany the flute and violin, but in Concerto No. 5, Bach used both instruments to separate those passages. “The mood is gentle and tender, but with the sense of sorrow that often seems to come with the key of B minor.” The most memorable feature of music in Beethoven’s Symphony No. 7 is that begins with the most famous four notes. It starts with a minor chord, and then suddenly what you hear is not the theme, but the counter theme. The harpsichord is prearranged sharp distinction in this concerto, being raised from its common part to aid the kind capacity, as well as being the uniting timbre during the work and most importantly it receives a virtuosic place as a highlighted soloist. The soloist may be the first time that the harpsichord treated as a soloist. The concerto is set in a typical fast-slow-fast arrangement. The opening Allegro is the longest among all movements of the six Brandenburg’s. The development of analytical musical instruments to the time “Beethoven uses spiccato to give the music a lighter, airier tune that builds up to the repetition of the famous clause that started the music, although slightly altered to be a little less grand-sounding. The next phrase includes what sounds like a call and response between the upper strings and the winds, building in anticipation until the climax of the first theme, ending in a solo from the horns.” () “This fifth concerto is scored for flute, solo violin, obbligato harpsichord, and strings. It is the only one of the six pieces to have any solo material given to the harpsichord, which is part of the continuo throughout the other works, filling out the harmonies.” ()

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