L. v. Beethoven: Symphony No. 5 in C Minor, op. 67
The Symphony No. 5 in C Minor, also known as the “Fate Symphony”, is perhaps the most well-known among the nine symphonies written by the great German classical composer Ludwig van Beethoven (1770-1827). This representative piece of his middle period was composed in 1804-1808 and first performed at Theater an der Wien in Vienna on 22 December 1808. The first of this four-movement symphony is completely based on the familiar four-note “fate motif” (fate knocking at the door); the powerful first theme unleashes a persistent and indomitable flair, followed by the horn that conveys the varied fate motif and leads to the bright and lyrical second theme. The second movement (in A-flat major) is a double variation: the first theme of the violas and cellos gives a broad and deep impression while the second theme of the clarinets and bassoons embodies the stately heroic character, and these two themes alternate in six subsequent variations. The third movement is in a ternary form with the first section consisting of two contrasting factors: the low, oppressed and slightly hesitant theme of the strings and the fanfare theme played by the winds based on the “fate motif”. The trio is written in the contrapuntal style of a fugue, suggesting irrepressible strength. The ending of the recapitulation directly leads to the glorious fourth movement, which takes the sonata form with the first theme starting with a triumphal march and the joyous second theme mainly characterised by the triplet rhythm. The fanfare theme of the third movement imperceptibly recurs as the development section concludes. A number of previous thematic materials are revisited in the epic coda, which brings the symphony to a commanding close with 29 fortissimo C major chords.
By Danni Liu
Translated from Chinese
J. Hisaishi: DA-MA-SHI-E
This piece was composed for the 1985 solo album α-BET-CITY and performed in a small ensemble, but after that, it was completed as an orchestral work for the album Minima_Rhythm in 2009. The entire piece consists of a combination of about eight phrases generated from the motif of the first violin played at the beginning. In addition, the key changes from A major to a B-flat major carried by the heavy blows of brass instruments transform the overall colour. In the second half, the combination of eight motifs is joined by a brass chorale, creating a long-lasting ending, and rather lively, positive music.
The title was inspired by M. C. Escher, as I sympathized with his logical and humorous style, rather than his specific paintings.
By Joe Hisaishi
J. Hisaishi: Spirited Away Suite
The film Spirited Away won an Academy Award for Best Animated Feature in 2003. As its music has been on high demand internationally ever since, the soundtrack has been recomposed into a symphonic suite. The new piece was premiered in Japan by the World Dream Orchestra back in 2018. The music illustrates a string of challenges faced by Chihiro, the main character. For instance, when the young girl gets lost in a totally different world from the one she lives in, her name is changed and her parents are transformed into pigs. Some of this score’s movements are aggressive and intense. On the other hand, “The Sixth Station” movement represents a place between the real world and the underworld, conveying Hayao Miyazaki’s strong views and a message on the importance of being alive.
By Joe Hisaishi