Beethoven is widely regarded as a master of musical construction, sometimes sketching the architecture of a movement before he had decided upon the subject matter. He was one of the first composers to systematically and consistently use interlocking thematic devices, or 'germ-motives', to achieve unity between movements in long compositions. (Some insight into the meaning of the germ-motive device is given at the end of this bio.) Equally remarkable was his use of source-motives', which recurred in many different compositions and lent some unity to his life’s work. He made innovations in almost every form of music he touched. For example, he diversified even the well-crystallised form of the rondo, making it more elastic and spacious, which brought it closer to sonata form. He was mostly inspired by the natural course of nature, and liked to write songs describing nature.
Beethoven composed in a great variety of genres, including symphonies, concerti, piano sonatas, other instrumental sonatas (including for violin), string quartets and other chamber music, masses, lieder, and one opera.
Beethoven's compositional career is usually divided into Early, Middle, and Late periods:
In the Early (Classical) period, he is seen as emulating his great predecessors Haydn and Mozart, while concurrently exploring new directions and gradually expanding the scope and ambition of his work. Some important pieces from the Early period are the first and second symphonies, the first six string quartets, the first three piano concertos, and the first twenty piano sonatas, including the famous "Pathétique" and "Moonlight" sonatas.
The Middle (Heroic) period began shortly after Beethoven's personal crisis centering around his encroaching deafness. The period is noted for large-scale works expressing heroism and struggle; these include many of the most famous works of classical music. Middle period works include six symphonies (numbers 3 to 8), the fourth and fifth piano concertos, the triple concerto and violin concerto, five string quartets (numbers 7 to 11), the next seven piano sonatas (including the "Waldstein" and the "Appassionata"), and Beethoven's only opera, Fidelio.
Beethoven's Late (Romantic) period began around 1816. The Late-period works are characterised by intellectual depth, intense and highly personal expression, and formal innovation (for example, the Op. 131 string quartet has seven linked movements, and the Ninth Symphony adds choral forces to the orchestra in the last movement). Works of this period also include the Missa Solemnis, the last five string quartets, and the last five piano sonatas.
Deconstructing the sonata form, both in the overall schema (movements, tempos) and in the micro-form, Beethoven began to use germinal ideas propelling the whole melodic, harmonic, and rhythmic progression. In the first quartet of the group (E flat major, Op.127 – February 1825), the Adagio has five variations (in this case, a source-theme becomes the backbone of the tempo). That same year, in July, Quartet in A minor, Op.132, features a first movement with the traditional two themes, but without contrast; they display and disseminate sub-sections and ‘germs’ in a circular frame, interlocking with each other. Beethoven's germ-motive is like a Bach choral, summoning the other voices around itself.
The last quartet, Op. 135 in F major, was composed in a downplayed form, going back to a more traditional four-tempo structure. But internally one finds the same frozen micro-structure: the first movement is harmonically ambiguous, whereas the scherzo sounds like Bartók, and in the finale, the canon ‘Es muss sein’ plays a joyful role. A terrible grave comes in afterward, to dissolve into a soft pizzicato: adieu music, adieu life . It was never heard by the now deaf Beethoven, and he died shortly afterward.
Symphony No. 2 in D Major
Ludwig van Beethoven Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You looked so big and fine
I really wanted to go out with you
So when you smiled
I laid my heart on the line
You read me my rights
And then you said: "Let's go"
And nothing more
I thought of my nights
And how they were
They were filled with -
I know you wouldn't go
You'd watch my heart burst
Then you'd step in
I had to know
So I asked
You just had to laugh
We sat in the night
With my hands cuffed
At my side
I looked at your life
And your style
Wanted nothing more
I know you wouldn't go
You'd watch my heart burst
Then you'd step in
I had to know
So I asked
You just had to laugh
Walking the line
You were a marksman
Told me that law
Like wine is ageless
Public - defender
You had to admit
You wanted the love
Of a sex offender
I know you wouldn't go
You'd watch my heart burst
Then you'd step in
I had to know
So I asked
You just had to laugh
My vision in blue
I call you from
Inside my cell
And in the trial
You are there
With your badge
And rubber boots
I think all the time
How I'm going to
Perpetrate love with you
And when I get out
There's no doubt
I'll be sex-offensive to you
Ooh-whoo...
Ooh-whoo...
This is not actually the lyrics to Beethoven's Symphony No. 2 in D Major. The lyrics you provided are a song called "Walking the Line" performed by Depeche Mode. The Symphony No. 2 in D Major is purely instrumental and contains no lyrics. It was composed by Beethoven in the early 19th century and is one of his most famous and critically acclaimed works. It is known for its energetic and joyful nature, as well as its innovative use of musical structures and motifs. The symphony consists of four movements, each with their own distinctive character and style.
Line by Line Meaning
I saw you standing on the corner
The singer saw the person they desired from afar
You looked so big and fine
The person they saw appeared attractive and impressive
I really wanted to go out with you
The singer desired a romantic relationship with the person
So when you smiled
The person showed a positive gesture
I laid my heart on the line
The artist expressed their feelings openly and honestly
You read me my rights
The person addressed the singer's legal rights
And then you said: "Let's go"
The person invited the singer to go somewhere
And nothing more
The invitation was simple and straightforward
I thought of my nights
The artist reflected on their past experiences
And how they were
The artist remembered how those experiences felt
They were filled with -
The singer left this thought unfinished
I know you wouldn't go
The artist is uncertain of the person's intentions
You'd watch my heart burst
The singer believes the person would enjoy seeing them suffer
Then you'd step in
The person would intervene in some way
I had to know
The singer needed clarity about the person's intentions
So I asked
The artist sought answers to their questions
You just had to laugh
The person found the artist's inquiry amusing
We sat in the night
The singer and the person were together in the dark
With my hands cuffed
The singer was restrained physically
At my side
The person was beside the artist
I looked at your life
The artist observed the person's lifestyle
And your style
The way the person presented themselves was noted by the artist
Wanted nothing more
The singer feels content with what they have
Walking the line
The person works within boundaries
You were a marksman
The person is skilled and precise
Told me that law
The person reminded the singer of legal rules
Like wine is ageless
The person used a metaphor to explain the nature of the law
Public - defender
The person represents the law
You had to admit
The person conceded a point
You wanted the love
The person desired affection
Of a sex offender
This phrase implies that the singer is a criminal
My vision in blue
The artist is seeing everything through a filter of sadness or depression
I call you from
The artist communicates with the person from their location
Inside my cell
The artist is confined
And in the trial
The singer is currently in court proceeding
You are there
The person is also present in court
With your badge
The person is wearing their uniform
And rubber boots
The uniform includes these types of boots
I think all the time
The singer is consumed by thoughts about the person
How I'm going to
The artist is planning for the future
Perpetrate love with you
The artist intends to express affection to the person through some action
And when I get out
The singer plans for their eventual release from confinement
There's no doubt
The singer has complete certainty about something
I'll be sex-offensive to you
The artist plans to engage in sexual activity with the person
Ooh-whoo...
This is likely an emotional interjection rather than a coherent thought.
Ooh-whoo...
This is likely an emotional interjection rather than a coherent thought.
Contributed by Cole K. Suggest a correction in the comments below.
oughts sought
no expert (tho' I love these youtube offerings that let me try to follow the score as a piece is being played)
but I've loved Beethoven's work for 50years in large part becuz he tastes, at least to me, so humorously
cheeky!
with all his other accolades
I think of him as the first jazz master
and a much more coy kindred predecessor to Victor Borge
and amen to what you said about his underrated symphonies
JS Beethoven
3:45
5:13-6:10
9:00-10:15 (basically the entire dang coda) (also, 9:00 uses diminution, and 9:22 is badass)
12:59-13:40
18:54-19:33 (same thing but in dominant key)
20:37-20:51
22:11 (jokes lmao)
24:18-24:35
24:40- 25:08 (especially 24:54)
25:45 Clever use of material. 25:51 too. Both motifs are from 23:56
27:11- 27:37
29:01-30:08 (basically the entire coda again lol)
Geoff Stemen
taken separately from his later music, this is in its own right the purest expression of Beethoven at the time. a key to the later works, not merely a stepping stone.
José Lopes
This is music that touches us deeply due to its sensitivity and strength. The glorious and admiring way in which Beethoven composes cannot leave anyone indifferent, as it has the particularity of, through his music, bringing the human feeling to the surface, how intimate it may be. The orchestra is remarkable with an amazing direction. It is a recording, considered by me, one of the best I have heard so far. Bravissimo!!!
CentOldMustard -Memes n' more!
tfw when wordcount
Freddy Fast-bear 🇺🇸
@CentOldMustard -Memes n' more! Bruh
Takashi Toba
One of the most beautiful and brilliant symphony with vivid tempo and bright light in his music. I like this piece so deeply.
AManCalled Da-da
What is it about Beethoven cranking on every third movement in every symphony? Each one is a stand-out.
Phillip Shovk
A great masterpiece played fabulously.....thank you !
Dell Anderson
Thank you so much for displaying the score to this piece. I have heard the 2nd symphony many times, but seeing the score makes it come alive. I'm subscribing and hoping there will be many more like this. Incredible.
Miro Pribanić
I love Beethoven's underrated symphonies...I am listening closely, more aware than with the 5th and 9th...So , today while driving to work, something baffled me: The Scherzo starts with this 16bar motive, repeated once. Formally, the score then indicates a new section. However, in the first four bars of that new section (20:37), Beethoven does not present a new motive, but reiterates the melodic rhythm of the first one. Then, in bar 5, where it says fortepiano (fp) the new motive is introduced....on the second beat of the bar!! I call that very very cheeky. Maybe somebody with a a more profound knowledge in music can confirm or contradict to what I found out.
Džin
I don't call myself an expert but you are absolutely right.