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♪♪

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-Beethoven's Fifth Symphony.

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We'll explore 
the first movement, next,

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on this Discovery Concert.

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-Funding for 
this Discovery Concert

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has been made possible 
in part by...

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♪♪

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♪♪

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-I'm George Marriner Maull,

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artistic director of 
the Discovery Orchestra,

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where we believe that the more 
detail we notice in music,

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the more pleasure we can receive 
from listening to it.

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Ludwig Van Beethoven, 
while completing other projects,

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worked off and on, 
from 1804 until 1808,

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to finish his Fifth Symphony,

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perhaps the most well-known 
of all his works.

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We know the tragic loss of his 
hearing was also in progress,

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yet, amazingly, he conducted 
the first performance

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on December 22, 1808.

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Join us now as 
the Discovery Orchestra and I

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explore details 
of the first movement

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of Beethoven's Fifth Symphony

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in this Discovery Concert.

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[ Applause ]

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[ Applause ]

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Thank you.

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Thank you for that wonderful 
show of appreciation.

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I know what you're thinking.

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You're thinking, 
"I know this piece.

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Been there, done that."

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And, if you believe that you 
know everything there is to know

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about Beethoven's 
Fifth Symphony, you're excused.

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But for those of you 
who are staying,

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we just want you to know that

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we're very, very happy 
to be with you

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and we thank you.

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We will ask you tonight during 
the performance to respond

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in certain ways.

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I'll be asking you sometimes 
to put up your hands

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to show that you noticed 
something in the music,

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or perhaps even to stand.

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Now, if those physical 
responses

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are not easy to do, feel free to 
invent a response of your own.

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If you want to do the eyebrows 
or blink at us,

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whatever you want to do 
to indicate that you notice

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what we're doing up here.

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So, feel free to invent.

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Composers always use 
a recipe of some kind

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when they are creating 
a piece of music.

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They don't just sort of throw 
sounds together.

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They actually have a plan.

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It's very similar to chefs 
in the kitchen.

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And they also, like chefs, 
feel free

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to change the recipe slightly 
if they feel like it.

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You know, a little bit more 
paprikash here,

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you know, a couple dashes 
of sugar over there.

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It doesn't matter if they want 
to change it slightly,

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as long as it serves 
their purposes.

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Now, the specific musical recipe 
that Beethoven was using

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on this occasion is known 
as sonata allegro form,

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sometimes just called 
sonata form for short.

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Sonata form has three 
large sections.

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The first section is called 
the exposition,

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the second section 
is called the development,

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and the third section is called 
the recapitulation.

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Now, we're going to investigate 
these sections tonight

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to help us understand

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how he created this movement 
that we just played for you.

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All movements written in 
sonata form have a first theme,

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which is, of course...

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-Da-da-da-dah.

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[ Laughter ]

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-Yeah, this is the theme known 
'round the world.

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Tell it to me again.

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-♪ Da-da-da-dah ♪

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-Right, exactly. 
That's the one.

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That's the first theme 
of this movement.

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We're going to break 
the audience into four parts.

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We're going to assign you 
a theme.

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Balcony people,

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you are owners of the first 
theme of this movement.

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We're going to play 
the first theme for you,

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and as we play it,

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I want you to wave your hands 
so that we know

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that you own this thing.

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♪♪

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♪♪

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♪♪

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You were great.

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[ Laughter and applause ]

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Now, where there's smoke, 
there's...

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-Fire. 
-Right, and where there's

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a first theme, there's always 
a second theme.

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What's the second theme 
of this movement?

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The silence is deafening.

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[ Light laughter ]

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We don't know what 
the second theme is, do we?

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Maybe. But I'll tell you what, 
we're going to assign it

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to the center orchestra.

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Now, as we play it for you, 
we would appreciate it if you

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would wave your hands 
to that.

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If the orchestra would be 
so kind to provide us

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with the second theme, 
I'll watch you while you wave.

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♪♪

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♪♪

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You see, it's kind of 
a stentorian question

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from the horns, followed by 
this very lovely,

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warm, fuzzy answer that's 
repeated three times.

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But composers don't like to just 
jump from one theme to another

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sort of helter-skelter.

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To continue 
our food analogy here,

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they like to write a sort of 
musical mayonnaise.

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If you can imagine how, 
in a sandwich,

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the mayonnaise sort of melds 
the disparate elements

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of the sandwich into some sort 
of edible concoction,

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composers write transitions 
to bring us logically

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from one theme to the next.

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So this exposition also has 
a transition,

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which I'm going to assign 
to you, over here,

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in the orchestra to my right.

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Listen to this transition 
as we play it, and wave.

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♪♪

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♪♪

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Fun, isn't it? Okay.

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And, of course, to conclude 
an exposition,

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we have a way of rounding it out 
called the closing section.

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And we're going to assign 
the closing section

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to the people in the orchestra 
on my left.

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So, would you wave as we play 
the closing section for you?

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♪♪

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♪♪

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Usually, composers like to write

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discrete ideas 
for these sections.

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The first theme will not sound 
like the second theme.

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Let's suppose that the composer 
wrote for the first theme...

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♪ Dum-ba-di-di-di-di-di ♪

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♪ Dum-ba-di-di-di-da ♪

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We would get something really 
different for us to latch onto

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in the second theme, maybe...

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♪ Dee-da-da-da-da ♪

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♪ Da-da-da, dee-da-da-da ♪

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Something very different.

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And the same thing would be true

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of the transition and 
the closing section as well.

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You would feel that they 
are distinct.

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But, in this particular case,

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Beethoven...

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Well, did you notice anything 
about these parts?

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I mean, was there anything about 
the musical content

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of each of these sections 
that seemed similar?

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Let me remind you that 
"da-da-da-dah"

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seemed to be occurring 
in every single one of them.

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In fact, before the 1 minute 
and 30 seconds

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of this particular exposition 
is over,

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Beethoven has used the rhythmic 
figure "da-da-da-dah"

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more than 50 times.

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So if he were alive today, 
we could give him

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the Green Composer Award 
for getting the most mileage

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out of one musical idea.

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[ Laughter ]

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Alright, we've now covered all 
the parts of this exposition.

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Of course, 
we have our first theme.

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We have our transition.

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I'm beginning to feel like 
an airline attendant

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showing the exits.

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We have our second theme.

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And we have, of course, 
our closing section over here.

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Why don't you say it, just so I 
know you're grounded in this?

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I will just point to you 
and you say your thing.

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First theme, transition, 
second theme, closing section,

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when I point to you -- 
Are you ready?

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-The first theme.

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-Exposition.

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-Second theme.

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-Closing.

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-Exactly, the closing section, 
so now we have all the parts.

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What we're going to do now is 
we're going to play

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the entire exposition for you,

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and your mission, should you 
choose to accept it, is,

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when your material is being 
played, wave your hands.

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Now, you might want to wave even 
in time with the music.

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I would just ask you just to be 
a little careful.

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We don't want any injuries 
to take place.

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Just be mindful of people 
that are around you

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as you're moving your body.

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♪♪

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♪♪

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♪♪

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[ Laughter ]

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What's funny?

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-Wrong music.

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-Right. We played 
the wrong music.

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We played the last movement 
on purpose,

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just to see if you were 
actually paying attention.

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[ Laughter ]

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And we did that because we 
wanted to just revisit

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this whole idea that 
listening to music

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is not the same 
as hearing music.

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Now, we can physically 
hear music,

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while we do all manner 
of other things.

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I mean, for instance, 
we can be dining

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or we can be driving the car

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and have music on 
in the background.

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Even when you're here 
in the concert hall,

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we know what you're doing,

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because we see you 
from up here.

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But what are people doing 
while we're playing?

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Well, people are texting 
each other.

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Reading the program.

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You know, we provided people 
with a program

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so people are reading it.

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We probably shouldn't provide 
people with programs,

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because they read them.

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There's always 
the contributors' list.

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Wow!

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They gave that much 
to the arts center?

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You know?

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[ Laughter ]

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But the problem with this 
is that if we, in fact,

267
00:19:46,900 --> 00:19:48,866
think about other things,

268
00:19:49,000 --> 00:19:52,500
we may not notice what's going 
on in the music.

269
00:19:52,633 --> 00:19:54,766
And that's kind of a loss 
for us

270
00:19:54,900 --> 00:19:57,466
because so much pleasure 
is to be had

271
00:19:57,600 --> 00:20:00,033
by noticing the detail.

272
00:20:00,166 --> 00:20:03,433
We believe that the more detail 
we notice,

273
00:20:03,566 --> 00:20:05,133
the more enjoyable 
the experience is.

274
00:20:05,266 --> 00:20:06,300
And by the way,

275
00:20:06,433 --> 00:20:08,066
we don't bring these things 
to your attention

276
00:20:08,200 --> 00:20:09,600
just so that you can name them.

277
00:20:09,733 --> 00:20:12,033
In other words, we don't want 
you to become so expert

278
00:20:12,166 --> 00:20:13,300
that you can sit there and go,

279
00:20:13,433 --> 00:20:15,400
"Oh, yeah, here's 
the first theme, whoa!

280
00:20:15,533 --> 00:20:16,800
Here comes 
the closing section."

281
00:20:16,933 --> 00:20:19,733
You know, sort of like amaze 
your friends at parties

282
00:20:19,866 --> 00:20:23,400
with your knowledge 
of musical techniques.

283
00:20:23,533 --> 00:20:25,866
These things are to be noticed

284
00:20:26,000 --> 00:20:28,900
and enjoyed 
as they're happening.

285
00:20:29,033 --> 00:20:30,333
No more jokes.

286
00:20:30,466 --> 00:20:33,100
We promise not to taunt you.

287
00:20:33,233 --> 00:20:35,200
And those of you who may be 
at home,

288
00:20:35,333 --> 00:20:37,500
put down that sandwich 
and listen up!

289
00:20:37,633 --> 00:20:39,033
[ Laughter ]

290
00:20:40,233 --> 00:20:41,866
Raise your hand 
for your material.

291
00:20:42,000 --> 00:20:43,066
I'm going to turn around

292
00:20:43,200 --> 00:20:45,333
to verify that you're 
in compliance.

293
00:20:47,633 --> 00:20:56,566
♪♪

294
00:20:56,733 --> 00:21:05,633
♪♪

295
00:21:05,800 --> 00:21:14,766
♪♪

296
00:21:14,933 --> 00:21:23,833
♪♪

297
00:21:24,000 --> 00:21:32,933
♪♪

298
00:21:33,100 --> 00:21:42,066
♪♪

299
00:21:42,233 --> 00:21:51,133
♪♪

300
00:21:51,300 --> 00:22:00,233
♪♪

301
00:22:00,400 --> 00:22:09,300
♪♪

302
00:22:09,466 --> 00:22:18,466
♪♪

303
00:22:18,600 --> 00:22:21,033
You all have 
little blue listening guides.

304
00:22:21,166 --> 00:22:23,600
Look at number 1, and you see 
there that it says,

305
00:22:23,733 --> 00:22:27,566
"the first theme is introduced 
by two strong unisons."

306
00:22:27,700 --> 00:22:29,033
Unisons.

307
00:22:29,166 --> 00:22:33,400
Now, a unison is the absence 
of harmony in music,

308
00:22:33,533 --> 00:22:35,866
so that we have melody alone.

309
00:22:36,000 --> 00:22:39,000
Beethoven started with 
a unison statement.

310
00:22:39,133 --> 00:22:40,300
You might wonder,

311
00:22:40,433 --> 00:22:43,900
what would it sound like if he 
did it with harmony?

312
00:22:44,300 --> 00:22:52,000
♪♪

313
00:22:52,133 --> 00:22:52,933
Yecch!

314
00:22:53,066 --> 00:22:55,333
[ Laughter ]

315
00:22:55,466 --> 00:22:57,633
He knew what he was doing.

316
00:22:57,766 --> 00:22:59,766
He knew that it would 
be much stronger

317
00:22:59,900 --> 00:23:02,666
if it was just melody 
at the beginning.

318
00:23:02,800 --> 00:23:05,600
Listen to what that sounds like 
again with just melody.

319
00:23:06,633 --> 00:23:13,800
♪♪

320
00:23:14,500 --> 00:23:16,766
You'll notice in the guide that 
there are a number of places

321
00:23:16,900 --> 00:23:18,833
where there are gaps 
in the information.

322
00:23:18,966 --> 00:23:21,333
Hopefully you will fill in 
those blanks,

323
00:23:21,500 --> 00:23:23,433
as we go on, by listening.

324
00:23:23,566 --> 00:23:25,400
But I'd like you to listen 
at number 2.

325
00:23:25,533 --> 00:23:28,233
Tell me how many chords there 
are at the end of number 2

326
00:23:28,366 --> 00:23:29,500
and which instrument hangs on.

327
00:23:29,633 --> 00:23:31,466
If you want to really be 
honest about this,

328
00:23:31,600 --> 00:23:33,466
maybe you would close your eyes.

329
00:23:35,266 --> 00:23:41,800
♪♪

330
00:23:41,966 --> 00:23:48,533
♪♪

331
00:23:48,700 --> 00:23:55,300
♪♪

332
00:23:55,433 --> 00:23:57,700
Well, what's the easy answer -- 
who hung on?

333
00:23:57,833 --> 00:23:59,866
The violins. 
How many chords were there?

334
00:24:00,000 --> 00:24:02,366
-Three. 
-Three?

335
00:24:02,500 --> 00:24:04,100
Everybody feel good with three?

336
00:24:04,233 --> 00:24:05,500
Any other answers?

337
00:24:05,633 --> 00:24:08,233
-Four. 
-Four? Alright.

338
00:24:08,366 --> 00:24:10,300
Whenever that happens, 
we have to play it again.

339
00:24:10,433 --> 00:24:12,033
[ Laughter ]

340
00:24:14,233 --> 00:24:20,600
♪♪

341
00:24:20,766 --> 00:24:27,133
♪♪

342
00:24:27,300 --> 00:24:33,733
♪♪

343
00:24:33,866 --> 00:24:35,466
[ Laughter ]

344
00:24:35,600 --> 00:24:38,366
Everybody feel good about 
three chords, I hope, now?

345
00:24:38,500 --> 00:24:40,233
Yes. Good.

346
00:24:40,366 --> 00:24:42,533
At number 4 on your 
listening guide, it talks about

347
00:24:42,666 --> 00:24:44,666
ascending sequence.

348
00:24:44,800 --> 00:24:49,066
Now, sequence is a really 
exciting concept in music.

349
00:24:49,200 --> 00:24:51,666
It has to do with repeating 
a musical idea

350
00:24:51,800 --> 00:24:53,766
but at a different pitch level.

351
00:24:53,900 --> 00:24:56,233
Just so that you know what it 
would sound like

352
00:24:56,366 --> 00:24:57,433
if this were a repetition,

353
00:24:57,566 --> 00:24:59,333
I'm going to ask the orchestra 
to play the music

354
00:24:59,466 --> 00:25:01,333
without changing pitch level.

355
00:25:02,533 --> 00:25:05,400
♪♪

356
00:25:07,033 --> 00:25:08,566
I mean, it's not bad.

357
00:25:08,700 --> 00:25:10,833
This time they're going to 
play it as written.

358
00:25:10,966 --> 00:25:12,400
I want you to count the number

359
00:25:12,533 --> 00:25:14,833
of ascending steps 
in this sequence.

360
00:25:17,366 --> 00:25:22,233
♪♪

361
00:25:22,866 --> 00:25:24,000
-Seven. 
-Seven.

362
00:25:24,133 --> 00:25:27,133
-Seven.

363
00:25:27,266 --> 00:25:28,633
Seven? 
[ Audience shouting ]

364
00:25:28,766 --> 00:25:30,666
Seven. Six? Seven?

365
00:25:30,800 --> 00:25:32,200
Do I have some six?

366
00:25:32,333 --> 00:25:34,666
Alright, I'm going to ask them 
to leave off the last note.

367
00:25:34,800 --> 00:25:35,900
[ Laughter ]

368
00:25:38,800 --> 00:25:43,366
♪♪

369
00:25:43,500 --> 00:25:45,833
[ Laughter ]

370
00:25:45,966 --> 00:25:47,733
How many steps are there 
in this sequence?

371
00:25:47,866 --> 00:25:49,666
-Six. 
-Six. There are six.

372
00:25:49,800 --> 00:25:52,833
Listen to it with just 
the violins alone,

373
00:25:52,966 --> 00:25:55,233
so that there's no surrounding 
harmony or timbre.

374
00:25:55,366 --> 00:25:56,800
You can focus on the melody.

375
00:25:56,933 --> 00:25:58,800
And I'll ask you to leave off 
the last note, too,

376
00:25:58,933 --> 00:25:59,900
if you don't mind.

377
00:26:00,033 --> 00:26:02,400
[ Laughter ]

378
00:26:02,566 --> 00:26:06,900
♪♪

379
00:26:07,033 --> 00:26:10,166
Everyone feel the six? 
Okay? Yes, alright.

380
00:26:10,300 --> 00:26:11,900
[ Laughter and applause ]

381
00:26:12,033 --> 00:26:13,833
Alright, now, here's the thing.

382
00:26:13,966 --> 00:26:15,700
We're going to play it all 
again for you together.

383
00:26:15,833 --> 00:26:19,000
Notice that we will put 
that last note on there

384
00:26:19,133 --> 00:26:21,133
because that's 
the arrival point.

385
00:26:21,266 --> 00:26:23,566
And that's one of the great 
things about sequence.

386
00:26:23,700 --> 00:26:27,000
It makes us feel like we're 
going from here to here.

387
00:26:27,133 --> 00:26:28,833
And no one has left their seat,

388
00:26:28,966 --> 00:26:32,133
but it feels like we've gone 
from here to there,

389
00:26:32,266 --> 00:26:34,300
to that note of arrival.

390
00:26:36,033 --> 00:26:40,666
♪♪

391
00:26:42,066 --> 00:26:43,400
At number 5 
in the listening guide,

392
00:26:43,533 --> 00:26:48,033
I want you to count the number 
of chords that end this idea.

393
00:26:49,100 --> 00:26:53,833
♪♪

394
00:26:55,633 --> 00:26:57,600
-Two. 
-Two. Yes, two.

395
00:26:57,733 --> 00:26:59,966
And not only are there 
two chords there --

396
00:27:00,100 --> 00:27:02,300
Which really feel like 
exclamation points

397
00:27:02,433 --> 00:27:03,733
at the end of that idea --

398
00:27:03,866 --> 00:27:06,033
But one of the reasons that 
they're strong is because

399
00:27:06,166 --> 00:27:11,033
Beethoven separated them with 
a tiny little bit of silence.

400
00:27:11,166 --> 00:27:13,633
He could have gone "bum-bum," 
but he didn't do that.

401
00:27:13,766 --> 00:27:15,933
He went "bum...bum."

402
00:27:16,066 --> 00:27:17,566
And that little bit 
of silence there

403
00:27:17,700 --> 00:27:19,866
is what adds 
to the strength of the chords.

404
00:27:20,000 --> 00:27:22,066
I'd like to play this 
again for you,

405
00:27:22,200 --> 00:27:24,400
and, please, 
would you raise your hands

406
00:27:24,533 --> 00:27:26,500
during the tiny little silence

407
00:27:26,633 --> 00:27:28,000
that occurs between 
those chords?

408
00:27:28,133 --> 00:27:29,366
Now, you're going to have to 
be fast

409
00:27:29,500 --> 00:27:30,733
because it doesn't last long.

410
00:27:32,400 --> 00:27:37,633
♪♪

411
00:27:37,766 --> 00:27:39,533
[ Laughter ]

412
00:27:39,666 --> 00:27:41,266
You wanted to put 
an extra silence in there.

413
00:27:41,400 --> 00:27:44,433
In fact, he does give us 
an extra silence after that

414
00:27:44,566 --> 00:27:46,800
before he goes on 
to the second theme.

415
00:27:46,933 --> 00:27:50,633
But this time I want to play it 
again for you and just feel

416
00:27:50,766 --> 00:27:53,433
the effect of the silence 
in your entire body

417
00:27:53,566 --> 00:27:57,633
while we play those two chords 
with the silence between them.

418
00:27:59,300 --> 00:28:04,966
♪♪

419
00:28:06,500 --> 00:28:09,766
We see that this idea, 
like so many ideas,

420
00:28:09,900 --> 00:28:12,666
is really 
an evolutionary process.

421
00:28:12,800 --> 00:28:14,533
I mean, we just didn't 
wake up one morning

422
00:28:14,666 --> 00:28:17,166
and suddenly there was 
sonata form on the table.

423
00:28:17,300 --> 00:28:20,500
This idea was the product 
of many minds.

424
00:28:20,633 --> 00:28:23,466
Some of the important ones 
in this process were

425
00:28:23,600 --> 00:28:25,600
Franz Joseph Haydn,

426
00:28:25,733 --> 00:28:28,633
Wolfgang Amadeus Mozart.

427
00:28:28,766 --> 00:28:30,366
How about this one --

428
00:28:30,500 --> 00:28:32,400
Johann Vanhal?

429
00:28:32,533 --> 00:28:35,366
Do we have any 
Vanhal fans out there?

430
00:28:35,500 --> 00:28:37,366
And my personal favorite --

431
00:28:37,500 --> 00:28:40,266
Carl Ditters von Dittersdorf.

432
00:28:40,400 --> 00:28:42,833
[ Laughter ]

433
00:28:42,966 --> 00:28:46,466
Vanhal was a fabulous cellist 
as well as composer.

434
00:28:46,600 --> 00:28:50,166
And Dittersdorf 
was a violinist/composer.

435
00:28:50,300 --> 00:28:54,500
Now, Mozart, Haydn, 
Vanhal and Dittersdorf

436
00:28:54,633 --> 00:28:56,400
were all friends.

437
00:28:56,533 --> 00:28:58,533
And we have 
in the historical record

438
00:28:58,666 --> 00:29:00,200
that at least on one occasion,

439
00:29:00,333 --> 00:29:02,400
they played string quartets 
together.

440
00:29:02,533 --> 00:29:07,233
We also know that Beethoven 
studied composition,

441
00:29:07,366 --> 00:29:10,966
or at least counterpoint, 
with Haydn for a while.

442
00:29:11,100 --> 00:29:14,000
So we see that all of 
these people were involved

443
00:29:14,133 --> 00:29:16,066
in the evolution of this idea.

444
00:29:16,200 --> 00:29:19,466
And we can see that

445
00:29:19,600 --> 00:29:23,566
sonata form is really 
taking its cue

446
00:29:23,700 --> 00:29:26,333
from an even earlier idea

447
00:29:26,466 --> 00:29:28,433
called ternary form,

448
00:29:28,566 --> 00:29:31,400
which is simply A-B-A.

449
00:29:31,533 --> 00:29:34,666
Composers and audiences, 
listeners, love a-B-A

450
00:29:34,800 --> 00:29:38,166
because it has unity 
and variety in it.

451
00:29:38,300 --> 00:29:40,100
The "A" sections provide 
the unity,

452
00:29:40,233 --> 00:29:42,666
and the "B" section in 
the middle provides the variety.

453
00:29:42,800 --> 00:29:46,300
Now, let's do an A-B-A 
with the audience here.

454
00:29:46,433 --> 00:29:47,833
Everybody on the floor 
in the orchestra

455
00:29:47,966 --> 00:29:49,366
is going to be "A."

456
00:29:49,500 --> 00:29:52,500
The people in the balcony 
are going to be "B."

457
00:29:52,633 --> 00:29:54,233
What's wonderful about it

458
00:29:54,366 --> 00:29:57,166
is the fact that it provides 
unity and variety.

459
00:29:57,300 --> 00:30:00,766
You start in one place, 
you go someplace different,

460
00:30:00,900 --> 00:30:02,133
and you come back 
to where you were.

461
00:30:02,266 --> 00:30:04,100
You start at the New Jersey 
Performing Arts Center,

462
00:30:04,233 --> 00:30:06,866
you go on a journey somewhere, 
and you come back

463
00:30:07,000 --> 00:30:08,766
to the New Jersey 
Performing Arts Center.

464
00:30:08,900 --> 00:30:11,800
So, let's have the "A" people 
practice their part.

465
00:30:11,933 --> 00:30:13,100
A. 
-A.

466
00:30:13,233 --> 00:30:15,200
-Say it again, please, 
very nicely.

467
00:30:15,333 --> 00:30:16,800
-A.

468
00:30:16,933 --> 00:30:19,833
-Now, the people in the balcony 
are going to say "B,"

469
00:30:19,966 --> 00:30:21,066
but I want you to say it

470
00:30:21,200 --> 00:30:24,066
in the most annoying voice 
that you can muster.

471
00:30:24,200 --> 00:30:25,433
Are you ready?

472
00:30:25,566 --> 00:30:27,566
-B!

473
00:30:27,700 --> 00:30:30,833
-Good. Now let's do 
the whole thing -- A-B-A.

474
00:30:30,966 --> 00:30:31,900
Are we ready?

475
00:30:32,033 --> 00:30:34,000
-A.

476
00:30:34,133 --> 00:30:35,633
-B!

477
00:30:35,766 --> 00:30:37,100
-A.

478
00:30:37,233 --> 00:30:39,833
-Doesn't it feel good 
to come back to "A"?

479
00:30:39,966 --> 00:30:41,333
[ Laughter ]

480
00:30:41,466 --> 00:30:43,966
That's the kernel of the idea

481
00:30:44,100 --> 00:30:46,500
that we find 
in sonata allegro form,

482
00:30:46,633 --> 00:30:50,733
except that what we have now 
is taken those "A" sections

483
00:30:50,866 --> 00:30:52,666
and greatly expanded them,

484
00:30:52,800 --> 00:30:54,233
to include a...

485
00:30:54,366 --> 00:30:56,133
-First theme.

486
00:30:56,266 --> 00:30:57,500
-Transition.

487
00:30:57,633 --> 00:30:58,833
-Second theme.

488
00:30:58,966 --> 00:31:00,300
-Closing section, right.

489
00:31:00,433 --> 00:31:03,866
So, we have all of those 
in both "A" sections,

490
00:31:04,000 --> 00:31:07,800
in the so-called exposition 
and the recapitulation.

491
00:31:07,933 --> 00:31:09,433
But!

492
00:31:09,566 --> 00:31:13,400
What is really fascinating 
about sonata form

493
00:31:13,533 --> 00:31:16,366
is that it's not really A-B-A.

494
00:31:16,500 --> 00:31:21,933
What it is 
is "A", changed "A", "A".

495
00:31:22,066 --> 00:31:23,900
Now, what do I mean by that?

496
00:31:24,033 --> 00:31:28,966
The composer takes ideas that 
are presented in the exposition

497
00:31:29,100 --> 00:31:32,233
and alters them 
in the development,

498
00:31:32,366 --> 00:31:36,533
in such a way that people 
who are paying attention --

499
00:31:36,666 --> 00:31:38,433
again, this is only good 
for people

500
00:31:38,566 --> 00:31:42,466
who are not reading the program 
notes while this is going on.

501
00:31:42,600 --> 00:31:46,233
People who have paid attention 
during the exposition

502
00:31:46,366 --> 00:31:50,000
notice the changes that are made 
to the ideas there

503
00:31:50,133 --> 00:31:51,366
in the development.

504
00:31:51,500 --> 00:31:55,866
It has another emotional impact, 
to have changed an idea.

505
00:31:56,000 --> 00:31:59,266
It creates tension 
in the listeners,

506
00:31:59,400 --> 00:32:03,966
which has to be released by 
getting to the recapitulation.

507
00:32:04,100 --> 00:32:06,800
Let's listen to some of 
the strange things

508
00:32:06,933 --> 00:32:08,166
that Beethoven does

509
00:32:08,300 --> 00:32:10,666
at the beginning 
of the development.

510
00:32:10,800 --> 00:32:13,633
The very first thing he does 
is to take

511
00:32:13,766 --> 00:32:17,933
a rather abrupt left turn, 
harmonically.

512
00:32:18,066 --> 00:32:21,600
In your listening guide, 
this occurs at number 9.

513
00:32:21,733 --> 00:32:25,833
There's a strange twist 
in first theme,

514
00:32:25,966 --> 00:32:28,600
which announces 
the development.

515
00:32:28,733 --> 00:32:30,066
Let's pretend for a moment

516
00:32:30,200 --> 00:32:32,466
that we weren't taking 
this strange twist.

517
00:32:32,600 --> 00:32:34,566
Let's pretend that the car 
was going

518
00:32:34,700 --> 00:32:36,833
in the direction 
that we hoped it would

519
00:32:36,966 --> 00:32:38,566
or anticipated that it would.

520
00:32:38,700 --> 00:32:41,333
Let's listen to what 
that would sound like.

521
00:32:42,400 --> 00:32:46,300
♪♪

522
00:32:48,400 --> 00:32:50,133
Sounds reasonable, doesn't it?

523
00:32:50,266 --> 00:32:52,733
But listen to what he did.

524
00:32:53,166 --> 00:32:57,666
♪♪

525
00:32:58,566 --> 00:33:00,666
Do you sense that left turn?

526
00:33:00,800 --> 00:33:04,433
Everything in music 
is contextual.

527
00:33:04,566 --> 00:33:06,700
In other words, the reason that 
we can enjoy

528
00:33:06,833 --> 00:33:08,033
what's happening 
in a piece of music

529
00:33:08,166 --> 00:33:10,366
is because we remember what 
happened before,

530
00:33:10,500 --> 00:33:12,966
which is why it's so important 
to pay attention

531
00:33:13,100 --> 00:33:14,600
from the beginning.

532
00:33:14,733 --> 00:33:17,433
At number 10, it says that 
the music is like the beginning,

533
00:33:17,566 --> 00:33:20,100
but he keeps changing keys.

534
00:33:20,233 --> 00:33:23,000
Now, what this does is create 
an unsettling feeling.

535
00:33:23,133 --> 00:33:25,333
It's like we don't know 
where we're going

536
00:33:25,466 --> 00:33:29,866
because he's not remaining 
in one key.

537
00:33:30,000 --> 00:33:33,633
You might also notice 
that there are crescendos.

538
00:33:33,766 --> 00:33:35,200
Just so that we know 
what a crescendo is,

539
00:33:35,333 --> 00:33:36,600
would you please 
do this with me?

540
00:33:36,733 --> 00:33:38,233
Repeat after me -- 
we're going to go...

541
00:33:38,366 --> 00:33:39,800
Aaaaaah!

542
00:33:39,933 --> 00:33:40,766
Please do that.

543
00:33:40,900 --> 00:33:42,433
-Aaaaaah!

544
00:33:42,566 --> 00:33:44,966
-It's a getting louder 
gradually.

545
00:33:45,100 --> 00:33:46,933
It's fun to do 
when you're playing,

546
00:33:47,066 --> 00:33:49,233
and it's fun to perceive it 
as a listener.

547
00:33:49,366 --> 00:33:51,300
Now, something else that he does 
which is really interesting

548
00:33:51,433 --> 00:33:55,100
in this section is that he gets 
suddenly soft at the end.

549
00:33:55,233 --> 00:33:56,400
So they have to be 
really careful.

550
00:33:56,533 --> 00:33:58,766
They can't go... 
"Aaaaaah! Bang!"

551
00:33:58,900 --> 00:34:01,700
They have to go... 
"Aaaaaah! Ooooh!"

552
00:34:01,833 --> 00:34:03,100
[ Laughter ]

553
00:34:03,233 --> 00:34:05,333
It's very hard -- 
they have to suddenly

554
00:34:05,466 --> 00:34:07,800
pull themselves back 
and be quiet again.

555
00:34:07,933 --> 00:34:10,766
Alright, let's listen 
to the changing of keys --

556
00:34:10,900 --> 00:34:12,500
again, this is 
in the development --

557
00:34:12,633 --> 00:34:17,066
and also these crescendos or 
rumblings out of the strings.

558
00:34:18,500 --> 00:34:27,933
♪♪

559
00:34:28,100 --> 00:34:37,600
♪♪

560
00:34:37,766 --> 00:34:47,233
♪♪

561
00:34:47,366 --> 00:34:50,633
Sorry to leave you dangling 
over that musical cliff.

562
00:34:50,766 --> 00:34:53,066
[ Laughter ]

563
00:34:53,200 --> 00:34:56,366
In the exposition, 
the second theme --

564
00:34:56,500 --> 00:34:58,766
your theme -- 
has this beautiful question

565
00:34:58,900 --> 00:34:59,800
with three answers.

566
00:34:59,933 --> 00:35:01,433
Let's refresh our memories.

567
00:35:02,566 --> 00:35:08,033
♪♪

568
00:35:08,200 --> 00:35:13,733
♪♪

569
00:35:13,866 --> 00:35:15,066
We can see that, 
at this moment,

570
00:35:15,200 --> 00:35:18,000
Beethoven is really in a very 
sort of sublime mood.

571
00:35:18,133 --> 00:35:21,533
You know, we don't have any of 
this angst of the beginning.

572
00:35:21,666 --> 00:35:25,933
But listen to this pair 
of questions and answers

573
00:35:26,066 --> 00:35:27,233
in the development.

574
00:35:28,133 --> 00:35:33,800
♪♪

575
00:35:33,966 --> 00:35:39,700
♪♪

576
00:35:39,833 --> 00:35:42,333
This is wild stuff.

577
00:35:42,466 --> 00:35:44,266
The answers are so violent,

578
00:35:44,400 --> 00:35:46,700
and one of the reasons they are 
is because Beethoven

579
00:35:46,833 --> 00:35:49,166
is indulging in syncopation.

580
00:35:49,300 --> 00:35:50,600
What is syncopation?

581
00:35:50,733 --> 00:35:52,800
It's when there is an accent 
in the music

582
00:35:52,933 --> 00:35:54,733
where we do not expect it.

583
00:35:54,866 --> 00:35:57,400
Or, sometimes, where there is 
no accent

584
00:35:57,533 --> 00:35:58,966
where we were expecting one.

585
00:35:59,100 --> 00:36:02,200
But in this case, 
it's an unexpected accent.

586
00:36:02,333 --> 00:36:05,800
Normally, the stress is on 
the downbeat, or the first beat,

587
00:36:05,933 --> 00:36:09,333
so we say,  "one,  two,  one,  two, 
 one,  two,  one,  two."

588
00:36:09,466 --> 00:36:10,900
Say that with me.

589
00:36:11,033 --> 00:36:13,500
-One,  two,  one,  two, 
 one,  two,  one,  two.

590
00:36:13,633 --> 00:36:15,933
-Okay, now let's put the accent 
on two, ready?

591
00:36:16,066 --> 00:36:18,933
One,  two,  one,  two, 
one,  two,  one,  two.

592
00:36:19,066 --> 00:36:22,066
You see, that's already 
creating a disturbance.

593
00:36:22,200 --> 00:36:23,833
You start your ones again, 
ready?

594
00:36:23,966 --> 00:36:27,133
-One, two... 
-And I'm going to do 
this rhythm.

595
00:36:27,266 --> 00:36:29,966
-One, two, one, two... 
-♪ Da-da-da, da-da ♪

596
00:36:30,100 --> 00:36:32,200
♪ Dah! Da-da-da, da-da ♪

597
00:36:32,333 --> 00:36:34,600
-One, two, one, two... 
-♪ Da-da-da, da-da ♪

598
00:36:34,733 --> 00:36:36,733
♪ Dah! Da-da-da-da ♪

599
00:36:36,866 --> 00:36:39,833
Do you feel the answer 
coming in on "two"?

600
00:36:39,966 --> 00:36:41,666
Alright, let's 
side-by-side it again

601
00:36:41,800 --> 00:36:45,000
with the very pleasant sounds 
of the exposition.

602
00:36:45,133 --> 00:36:48,366
Then we'll go to this grittier 
one in the development.

603
00:36:49,600 --> 00:36:55,100
♪♪

604
00:36:55,266 --> 00:37:00,800
♪♪

605
00:37:00,933 --> 00:37:02,433
And now in the development.

606
00:37:02,600 --> 00:37:08,233
♪♪

607
00:37:08,400 --> 00:37:14,033
♪♪

608
00:37:14,166 --> 00:37:15,966
That's intense stuff.

609
00:37:16,100 --> 00:37:17,700
You know, I always worry

610
00:37:17,833 --> 00:37:21,200
when people say to me, 
"I love classical music,

611
00:37:21,333 --> 00:37:22,733
it's so relaxing."

612
00:37:22,866 --> 00:37:24,033
[ Laughter ]

613
00:37:24,166 --> 00:37:26,133
Not this passage.

614
00:37:26,266 --> 00:37:29,000
This tension is created 
in our development,

615
00:37:29,133 --> 00:37:31,966
which must be released 
by the recapitulation.

616
00:37:32,100 --> 00:37:36,233
So now I want you to prove 
to me that you know

617
00:37:36,366 --> 00:37:38,866
when we get 
to the recapitulation.

618
00:37:39,000 --> 00:37:40,700
We're going to start 
in the development,

619
00:37:40,833 --> 00:37:42,933
a little bit before 
where we just were,

620
00:37:43,066 --> 00:37:46,533
and when we get 
to the recapitulation,

621
00:37:46,666 --> 00:37:48,533
when it's exactly like 
the beginning,

622
00:37:48,666 --> 00:37:50,566
everyone stand.

623
00:37:50,700 --> 00:37:53,566
But... 
I'm warning you right now,

624
00:37:53,700 --> 00:37:55,633
Beethoven has false starts.

625
00:37:55,766 --> 00:37:57,166
[ Laughter ]

626
00:37:57,300 --> 00:37:58,633
He's going to tease us.

627
00:37:58,766 --> 00:38:01,633
He's going to pretend that he's 
about to recapitulate.

628
00:38:01,766 --> 00:38:03,700
A false recapitulation.

629
00:38:06,433 --> 00:38:15,300
♪♪

630
00:38:15,466 --> 00:38:24,400
♪♪

631
00:38:24,566 --> 00:38:33,433
♪♪

632
00:38:33,600 --> 00:38:42,500
♪♪

633
00:38:42,666 --> 00:38:51,533
♪♪

634
00:38:51,700 --> 00:39:00,633
♪♪

635
00:39:00,800 --> 00:39:09,700
♪♪

636
00:39:09,833 --> 00:39:11,833
Yes! Yes!

637
00:39:11,966 --> 00:39:13,733
Thank you, thank you.

638
00:39:15,966 --> 00:39:19,000
Was it exactly the same 
as the exposition?

639
00:39:19,133 --> 00:39:20,200
No, it wasn't.

640
00:39:20,333 --> 00:39:21,633
And how was it different?

641
00:39:21,766 --> 00:39:23,033
Do we know?

642
00:39:23,166 --> 00:39:25,733
-The chords. 
-Chords. Right.

643
00:39:25,866 --> 00:39:27,166
We had harmony.

644
00:39:27,300 --> 00:39:28,933
It wasn't just the unison.

645
00:39:29,100 --> 00:39:31,100
And, the first time we only had

646
00:39:31,233 --> 00:39:33,266
the violins, violas, 
cellos, and basses,

647
00:39:33,400 --> 00:39:35,000
and clarinets playing.

648
00:39:35,133 --> 00:39:38,100
This time we had what?

649
00:39:38,233 --> 00:39:40,600
Everybody. 
Everybody was playing.

650
00:39:40,733 --> 00:39:45,366
And they're playing things that 
really are very stark harmonies.

651
00:39:45,500 --> 00:39:47,666
Listen to it again, the way it 
sounds at the very beginning,

652
00:39:47,800 --> 00:39:49,200
in the exposition.

653
00:39:49,800 --> 00:39:55,800
♪♪

654
00:39:55,933 --> 00:40:00,066
Now listen to it in 
the recapitulated version.

655
00:40:00,233 --> 00:40:07,433
♪♪

656
00:40:07,566 --> 00:40:10,266
Listen to just the winds 
and the brass, slowly.

657
00:40:11,533 --> 00:40:20,900
♪♪

658
00:40:21,033 --> 00:40:24,366
Yeah, see, it's, I don't know, 
more ominous, more something.

659
00:40:24,500 --> 00:40:27,166
But it is a genuine 
recapitulation.

660
00:40:27,300 --> 00:40:29,333
We feel like we've 
come back, finally,

661
00:40:29,466 --> 00:40:31,333
to where we started.

662
00:40:31,466 --> 00:40:34,900
Beethoven, of necessity,

663
00:40:35,033 --> 00:40:37,766
we'll say, had the bassoons

664
00:40:37,900 --> 00:40:40,466
announce the second theme 
in the recapitulation.

665
00:40:40,600 --> 00:40:41,533
Now, who did it in the first?

666
00:40:41,666 --> 00:40:42,666
Does anybody remember?

667
00:40:42,800 --> 00:40:45,600
The horns played it 
the first time.

668
00:40:45,733 --> 00:40:48,066
Horns, why don't you play it 
for us the way it happens?

669
00:40:48,200 --> 00:40:50,666
This is the way the second theme 
gets started.

670
00:40:50,833 --> 00:40:54,966
♪♪

671
00:40:55,100 --> 00:40:59,666
In Beethoven's time, horns did 
not have these valve mechanisms

672
00:40:59,800 --> 00:41:03,066
with key pads that allow them 
to play easily

673
00:41:03,200 --> 00:41:06,933
in lots of different keys 
in a short space of time.

674
00:41:07,066 --> 00:41:09,400
You had to have like 
a little Santa Claus sack

675
00:41:09,533 --> 00:41:11,366
of tubes when you came 
to your seat,

676
00:41:11,500 --> 00:41:14,066
and you have to put in the tubes 
that will allow you

677
00:41:14,200 --> 00:41:16,266
to play in certain keys.

678
00:41:16,400 --> 00:41:17,966
Now, all this takes time.

679
00:41:18,100 --> 00:41:20,533
And, of course, in order to 
take them out

680
00:41:20,666 --> 00:41:21,866
and put in the next ones,

681
00:41:22,000 --> 00:41:23,300
by the time that happens,

682
00:41:23,433 --> 00:41:25,166
the horns might miss 
the entrance.

683
00:41:25,300 --> 00:41:27,333
Instead, he had 
the bassoons play it

684
00:41:27,466 --> 00:41:29,166
because it's now 
in a different key,

685
00:41:29,300 --> 00:41:30,633
and it sounds like this.

686
00:41:30,800 --> 00:41:35,033
♪♪

687
00:41:35,166 --> 00:41:39,266
Some conductors actually rewrite 
the music at this point.

688
00:41:39,400 --> 00:41:42,566
There's a school of conducting 
that says,

689
00:41:42,700 --> 00:41:44,833
"Well, if Beethoven had 
the valve horns,

690
00:41:44,966 --> 00:41:46,400
he surely would have had 
the horns play it."

691
00:41:46,533 --> 00:41:50,200
Then there are other conductors 
who are sort of text lovers,

692
00:41:50,333 --> 00:41:52,466
and they say, 
"You cannot touch this.

693
00:41:52,600 --> 00:41:54,700
Obviously, he wanted 
the timbre of the bassoons."

694
00:41:54,833 --> 00:41:56,733
Now, we thought about 
making this like

695
00:41:56,866 --> 00:41:59,166
one of those popular TV shows 
that's on right now

696
00:41:59,300 --> 00:42:02,433
and have the audience decide 
which way we would do it,

697
00:42:02,566 --> 00:42:06,033
but we thought better of it, 
and we're just going to play it

698
00:42:06,166 --> 00:42:10,166
the way Beethoven wrote it, 
again, for you this evening.

699
00:42:10,300 --> 00:42:13,766
Beethoven, as you know, 
had a very difficult life,

700
00:42:13,900 --> 00:42:17,733
mostly as the result 
of his disability.

701
00:42:17,866 --> 00:42:19,966
To lose his hearing, 
you know,

702
00:42:20,100 --> 00:42:23,000
was like the worst possible 
thing to happen.

703
00:42:23,133 --> 00:42:27,100
So he had pain in his life, 
which we can all identify with,

704
00:42:27,233 --> 00:42:29,366
and he was perfectly willing 
to share it with us.

705
00:42:29,500 --> 00:42:30,600
I want you to listen

706
00:42:30,733 --> 00:42:33,833
to some of this pain 
from his Third Symphony.

707
00:42:33,966 --> 00:42:36,666
Now, again, what is miraculous 
about this music is,

708
00:42:36,800 --> 00:42:40,333
it mirrors our own emotional 
inner lives.

709
00:42:40,466 --> 00:42:43,800
Think about the fact, you can go 
from feeling elated,

710
00:42:43,933 --> 00:42:46,100
to depressed, to frightened,

711
00:42:46,233 --> 00:42:50,366
to brave, to silly,

712
00:42:50,500 --> 00:42:53,000
in a nanosecond.

713
00:42:53,133 --> 00:42:55,666
You can experience all 
those different feelings.

714
00:42:55,800 --> 00:42:57,533
And that's what is so 
fascinating

715
00:42:57,666 --> 00:42:58,700
about these compositions

716
00:42:58,833 --> 00:43:02,800
because they also change 
feeling state on a dime.

717
00:43:02,933 --> 00:43:04,833
Listen to this passage 
from the Third Symphony

718
00:43:04,966 --> 00:43:09,766
in which Beethoven changes from 
feeling relatively lighthearted

719
00:43:09,900 --> 00:43:12,766
to intensely pained.

720
00:43:14,900 --> 00:43:24,300
♪♪

721
00:43:24,466 --> 00:43:33,866
♪♪

722
00:43:34,033 --> 00:43:43,400
♪♪

723
00:43:43,566 --> 00:43:52,966
♪♪

724
00:43:53,133 --> 00:44:02,666
♪♪

725
00:44:03,433 --> 00:44:06,366
That is pain. 
That is pain.

726
00:44:06,500 --> 00:44:09,866
Now, in the Fifth Symphony, 
at the coda,

727
00:44:10,000 --> 00:44:14,133
I want you to look at number 21 
and 22 in your listening guide.

728
00:44:14,266 --> 00:44:15,833
Codas are optional.

729
00:44:15,966 --> 00:44:17,900
You don't have to have 
a special ending

730
00:44:18,033 --> 00:44:21,733
in one of these constructions 
because you already have a...

731
00:44:21,866 --> 00:44:24,066
First theme, transition,

732
00:44:24,200 --> 00:44:25,966
second theme, 
and a closing section,

733
00:44:26,100 --> 00:44:28,500
and you can close it 
at the closing section.

734
00:44:28,633 --> 00:44:29,900
If it seems appropriate,

735
00:44:30,033 --> 00:44:32,833
you can just end it, but 
Beethoven liked to write codas

736
00:44:32,966 --> 00:44:36,033
in many of his movements 
of this sort.

737
00:44:36,166 --> 00:44:40,000
And this one is short, 
but it packs a powerful punch.

738
00:44:40,133 --> 00:44:43,100
At number 22, it talks about 
there being dissonance.

739
00:44:43,233 --> 00:44:45,900
Now, this is not the kind of 
soul agony

740
00:44:46,033 --> 00:44:47,966
that we just had 
in the Eroica symphony.

741
00:44:48,100 --> 00:44:52,333
This is more like 
seething anger.

742
00:44:52,466 --> 00:44:55,900
I want you to listen to 
the dissonances slowly,

743
00:44:56,033 --> 00:44:59,533
so that you can digest them 
before we play them in tempo.

744
00:45:01,066 --> 00:45:08,233
♪♪

745
00:45:08,400 --> 00:45:15,566
♪♪

746
00:45:15,700 --> 00:45:17,300
Now listen to them in tempo.

747
00:45:17,433 --> 00:45:19,900
They go by much faster, 
and you might miss them

748
00:45:20,033 --> 00:45:21,466
if you weren't attuned to it,

749
00:45:21,600 --> 00:45:24,466
but we have these little painful 
dissonances in here.

750
00:45:25,433 --> 00:45:31,433
♪♪

751
00:45:32,766 --> 00:45:36,033
You know, we wonder, why is 
Beethoven's music so compelling?

752
00:45:36,200 --> 00:45:40,400
Why is it among the favorite of 
the classical music repertoire?

753
00:45:40,533 --> 00:45:41,500
And I think it's because

754
00:45:41,633 --> 00:45:44,366
Beethoven just never 
would give up,

755
00:45:44,500 --> 00:45:46,500
no matter how bad things got.

756
00:45:46,633 --> 00:45:48,366
And we find this in his music.

757
00:45:48,500 --> 00:45:50,500
He wrote in a letter, in 1802,

758
00:45:50,633 --> 00:45:53,666
which was already six years 
into his deafness,

759
00:45:53,800 --> 00:45:56,800
"Sometimes, I have been driven 
by my desire

760
00:45:56,933 --> 00:45:59,666
to seek the company of 
other human beings,

761
00:45:59,800 --> 00:46:04,166
but what humiliation when 
someone standing beside me

762
00:46:04,300 --> 00:46:10,400
heard a flute afar off 
and I heard nothing.

763
00:46:10,533 --> 00:46:14,366
Such experiences have brought me 
close to despair,

764
00:46:14,500 --> 00:46:16,933
and I came near 
to ending my own life.

765
00:46:17,066 --> 00:46:19,900
Only my art held me back,

766
00:46:20,033 --> 00:46:22,366
as it seemed impossible 
to leave this world

767
00:46:22,500 --> 00:46:25,033
until I had produced 
everything I feel

768
00:46:25,166 --> 00:46:27,966
it has been granted 
for me to achieve."

769
00:46:30,700 --> 00:46:32,100
If you want to follow 
your listening guide,

770
00:46:32,233 --> 00:46:34,566
you can, as we play 
the first movement again.

771
00:46:34,700 --> 00:46:37,100
If not, you can just listen.

772
00:46:37,233 --> 00:46:39,833
And now, the first movement

773
00:46:39,966 --> 00:46:42,833
of Beethoven's Fifth Symphony 
again for you.

774
00:46:45,200 --> 00:46:54,633
♪♪

775
00:46:54,800 --> 00:47:04,233
♪♪

776
00:47:04,400 --> 00:47:13,866
♪♪

777
00:47:14,033 --> 00:47:23,500
♪♪

778
00:47:23,666 --> 00:47:33,100
♪♪

779
00:47:33,266 --> 00:47:42,700
♪♪

780
00:47:42,866 --> 00:47:52,333
♪♪

781
00:47:52,500 --> 00:48:01,933
♪♪

782
00:48:02,100 --> 00:48:11,566
♪♪

783
00:48:11,733 --> 00:48:21,166
♪♪

784
00:48:21,333 --> 00:48:30,800
♪♪

785
00:48:30,966 --> 00:48:40,400
♪♪

786
00:48:40,566 --> 00:48:50,000
♪♪

787
00:48:50,166 --> 00:48:59,633
♪♪

788
00:48:59,800 --> 00:49:09,266
♪♪

789
00:49:09,433 --> 00:49:18,866
♪♪

790
00:49:19,033 --> 00:49:28,466
♪♪

791
00:49:28,633 --> 00:49:38,100
♪♪

792
00:49:38,266 --> 00:49:47,700
♪♪

793
00:49:47,866 --> 00:49:57,300
♪♪

794
00:49:57,466 --> 00:50:06,966
♪♪

795
00:50:07,133 --> 00:50:16,566
♪♪

796
00:50:16,733 --> 00:50:26,166
♪♪

797
00:50:26,333 --> 00:50:35,766
♪♪

798
00:50:35,933 --> 00:50:45,400
♪♪

799
00:50:45,566 --> 00:50:55,000
♪♪

800
00:50:55,166 --> 00:51:04,633
♪♪

801
00:51:04,800 --> 00:51:14,266
♪♪

802
00:51:14,433 --> 00:51:23,866
♪♪

803
00:51:24,033 --> 00:51:33,466
♪♪

804
00:51:33,633 --> 00:51:43,066
♪♪

805
00:51:43,266 --> 00:51:52,700
♪♪

806
00:51:52,866 --> 00:52:02,333
♪♪

807
00:52:02,500 --> 00:52:11,933
♪♪

808
00:52:12,100 --> 00:52:21,566
♪♪

809
00:52:21,733 --> 00:52:31,166
♪♪

810
00:52:31,333 --> 00:52:40,766
♪♪

811
00:52:40,933 --> 00:52:50,400
♪♪

812
00:52:50,566 --> 00:53:00,033
♪♪

813
00:53:00,200 --> 00:53:09,633
♪♪

814
00:53:09,800 --> 00:53:19,233
♪♪

815
00:53:19,400 --> 00:53:28,866
♪♪

816
00:53:29,033 --> 00:53:38,466
♪♪

817
00:53:38,633 --> 00:53:48,066
♪♪

818
00:53:48,233 --> 00:53:57,733
♪♪

819
00:53:57,900 --> 00:54:07,333
♪♪

820
00:54:07,500 --> 00:54:16,966
♪♪

821
00:54:17,100 --> 00:54:20,366
[ Applause ]

822
00:54:40,133 --> 00:54:42,100
[ Applause continues ]

823
00:54:54,900 --> 00:54:56,866
[ Applause continues ]

824
00:55:13,233 --> 00:55:15,466
-"Discover Beethoven's 5th" 
is an exploration

825
00:55:15,600 --> 00:55:18,733
by Maestro George Marriner Maull 
and the Discovery Orchestra

826
00:55:18,866 --> 00:55:21,933
of one of the best-known and 
most beloved symphonic movements

827
00:55:22,066 --> 00:55:23,566
in all of classical music.

828
00:55:23,700 --> 00:55:25,833
This program, 
along with additional chapters

829
00:55:25,966 --> 00:55:28,433
containing the three movements 
of the symphony not included

830
00:55:28,566 --> 00:55:30,266
in the original television 
program,

831
00:55:30,400 --> 00:55:34,100
is available on DVD for $12.95 
plus shipping and handling.

832
00:55:34,233 --> 00:55:35,133
Order online

833
00:55:35,266 --> 00:55:38,833
at www.discoveryorchestra.org.

834
00:55:38,966 --> 00:55:41,733
This offer is made by American 
Public Television.

835
00:55:42,833 --> 00:55:44,466
Funding for 
this Discovery Concert

836
00:55:44,600 --> 00:55:46,266
has been made possible 
in part by...