The motive at the beginning of "Symphony of Destiny" has become the most famous musical aphorism in everyone's ears. No one has ever failed to be deeply shocked by the torrent of music that spewed out from this motive, and in the gloomy days to come, he continued to be inspired by it. This is by far the most violent artillery fire fired by human emotions against all difficulties and hardships. As the music progresses, we can even feel that we are running among such artillery fire, following the guidance of the artillery fire and moving forward bravely.

There is a popular saying that this is the "knock on the door of fate". The source is according to the introduction of Beethoven's student and friend Anton Schindler. Beethoven once said to him Pass this sentence. However, later generations have doubts about Schindler's credibility: such a metaphor is too clumsy and a bit exaggerated compared with the strength of the music. Moreover, Schindler's account has been proven to be inaccurate in many places. What's more, it was this same person who destroyed approximately 260 of Beethoven's 400 volumes of conversational records and extensively tampered with the remaining less than 150 volumes. We should not rely on others' nonsense, but we must also know that the "testimony" for such a great human spiritual achievement is just a self-proclaimed "Beethoven's confidential secretary". Although he knows Beethoven's later life very well, he The man who caused the greatest damage to Beethoven's spiritual legacy because of his extreme vanity and cowardice. Therefore, we can only talk a little bit about Schindler's record, but we are not bound by it at all. And we can find in our feelings about music that without this overly restrictive understanding, the resolute and courageous power of music has not been lost at all.

In addition to its spiritual content, this symphony also sets an example in structure and development form, based on which we can appreciate the essence of symphonic music. "Destiny" is the most outstanding representative of symphonic music. It is regarded as the crystallization of symphonic ideals and the most concentrated and convincing embodiment of "symphonic thinking". Its first movement is based on a theme composed of four notes written in two tones, which is the minimum that a musical theme can achieve. The subject is highly concentrated and charges forward with irresistible force. The development of the entire movement results in a complete elaboration of the theme, and only then do we see its full significance. In its short four notes, it condenses the energy and essence of the entire movement (and even the entire song). It is extremely concise, sharp and full of inner tension. It has prepared endless energy for its own development and exerts shocking energy and charming dynamics in its continuous expansion. Such a condensed theme is never seen in later Romantic symphonies. The musical themes of the Romantics were fascinated by the long lyrical atmosphere, and were truly "fascinated by five colors" - mainly the colors of timbre, harmony and emotional imagination. Music gained greater "freedom", but it was in classical music. -ism - especially achieved by Beethoven, because the unquestionable power shown by the logical inevitability of the theme has since been greatly reduced. The development of the theme is very different from this. Classicism takes the motivation of the theme as the first element. The whole song is a process of continuous enrichment of the theme, and the theme is the summary of the whole song. Romanticism has many beautiful and expressive melodies, but it's a bit awkward to use them as themes to drive musical ideas. Because such a long lyrical theme has already expressed its full meaning when it is just presented, and no longer has the potential for sustainable development, so we have to constantly seek new melodies to expand, and finally the colors become richer and stronger. Strong thematic advancement is rare. There are too many melodies, and it will inevitably appear sloppy when processed. Although some romantic music works are lyrical, they sound difficult to grasp in a clear direction, and they feel that they are not as easy to understand as classical works. This is the reason. No one thinks they can't understand "Symphony of Destiny" - although in fact its musical language is extremely concise and rich. The first theme stumbles and climbs, overcoming ninety-nine and eighty-one difficulties, and has been violently impacting at the center of the music. It is not so much a short melody as it is a furious rhythm. The two are inseparable, but the rhythm plays a greater role. Since the impact of this theme is obvious and it is so famous, the less well-known second theme especially requires our attention to enrich our understanding of the first theme.

As soon as the first four notes appear, they launch a fierce offensive, mixed with the panic, anger and heroic feelings that make people move, becoming the master of every note. All the notes are involved in the battlefield, participating in this battle, and the consciousness of "destiny" is witnessed. After the smoke filled the air, the horns sounded together, ushering in the tearful second theme in the flames of war: 5 1` | 7 1` | 2` 6 | 6 5 | This melody is smooth and sweet, carrying warmth and comfort. Enter the mind of a "warrior". Under the leadership of the opening motive, the entire movement is tightly organized and highly unified. The position of the second theme cannot be compared with it. However, we should really taste this melody carefully to see what is still hidden in the heart of the brave first theme. With so much love.

The second movement, smooth Andante. The double bass plucked quietly and imperceptibly from behind, and the viola and cello introduced the broad first theme of Magnolia, which set the background of this movement with tranquility and pathos. Then there is a lament played by wind instruments, which appears again and again in the same appearance, and the deep melancholy in it is unforgettable. The second theme is a mighty war song, like the rhythm of a march, issuing a call to still fight. This movement is a rest for warriors, and their heroic feelings sink into deep thought in the dusk.

There is no break between the third movement and the fourth movement. The two movements are played one after another, which further highlights the dramatic power of the music. Ahead is an alert mind restlessly watching, waiting, and comparing various forces. The suppressed breath and latent firepower poured out like an overwhelming force as the bugle sounded in the fourth movement. This is a battle between man and "destiny", a suffocating and fierce struggle. Did Beethoven win? I don’t have the answer, but who among us can remain a bystander and not join the fight? !

Beethoven's nine symphonies have set an insurmountable monument in the history of music, including the titled "Third Symphony "Hero"", "Fifth Symphony "Fate"" and " Symphony No. 6 "Pastoral" and Symphony No. 9 "Chorus" are the most popular. In comparison, "Pastoral", which is simple, fresh and has rich lyrics, is the easiest for people to feel close to. Being in this kind of music is really "comfortable to every pore"!

This is the breath of nature, with beautiful melody blowing in the breeze, and endless sweetness everywhere. Beethoven wrote the titles for them in his own handwriting: "The first movement, the joy when seeing the pastoral scenery for the first time; the second movement, the scenery by the stream; the third movement, the villagers gathering together; the fourth movement, lightning, thunder and storm; the fifth movement, lightning and thunder, storm; Movement, pastoral, joy after the storm and song of thanksgiving." In his notes, he originally planned to explain more about the music scene, but later thought that "anyone who knows something about rural life will understand the author for himself. Intention, no need to write a lot of titles." When this symphony was first performed, the title on the program was "Memories of Pastoral Life in F major", and the score of the first violin part specifically stated that "focuses on emotional expression, less painting-like" description". Therefore, in the face of the most famous title music in the history of music, it is reasonable and reasonable for us to make similar associations with the titles of each movement in the music, but not being able to hear the corresponding pictures does not mean that we "cannot understand", because Beethoven Fen himself insisted that "the listeners should each experience their own feelings about the music." Even the most famous "imitation" section of the whole song, at the end of the second movement, the flute imitates the nightingale, the oboe imitates the quail, and the clarinet imitates the cuckoo. We just don't hear them as the chirping of birds, so what's the fun and liveliness of them? Can't we just enjoy it? Listening to "Pastoral", you only need to open your mind to nature, and the field atmosphere flowing in the music will lift up your body and mind and ripple with it.

Although "Hero" has a very famous name, because "Destiny", "Pastoral" and "Chorus" are more popular among fans, it is actually still somewhat ignored. We cannot rank these symphonies, but we can only point out once again that there are actually many discussions that believe that "Eroica" is the most outstanding of Beethoven's nine symphonies. Beethoven himself (when writing "Chorus" "Before") also regarded "Hero" as his most proud symphony work. The famous works "Music in Western Civilization" and "Heroes" by American music scholar Lange have the same characteristic - they are both very concise masterpieces.

He said, "The Third Symphony is the epitome of new ideas, one of the incredible miracles in literature and art, and the greatest step a composer has taken in the history of symphony and music in general. ... Beethoven himself did not Other works he wrote may have been greater, but never again as magnificent as this fiery imagination. Every ingredient is extraordinary, novel, and yet wonderfully his. Purpose service: not to praise a person, but to praise an ideal and heroism.”

What if we want to recommend a work as a representative of human music culture? This irritating question was raised to us through a feat performed by the Americans in 1979: they sent "Chorus" onto a spacecraft, launched it into space, and used it as an introduction letter to alien life from humans on earth. . We never heard anyone disagree with this choice! "Beijiu" enjoys the supreme reputation and is recognized as a magnificent and solemn masterpiece. It has the most powerful and direct expressive power. Even if you listen to it for the first time, you are easily infected. First-time listeners need to be reminded that it is better to think of the human voice as an instrument, rather than just treating the instrumental part as the introduction and accompaniment of the human voice. There is no need to be burdened by the reputation of the fourth movement "Ode to Joy" and ignore the previous three movements.

In addition to these four symphonies, the untitled "First", "Second", "Fourth", "Seventh" and "Eighth" cannot be ignored at all. "The Seventh" in particular is known as the "Dance of Dionysus". Its final movement "describes the triumph of Dionysus' fury, which no one can match".

The above nine symphonies are all Beethoven’s victories, “no one can match them”!