Trombone enters for the first time in the symphonic literature during the Allegro, where the dark brassy timbre leads the movement’s march-like theme. The disjointed movement culminates with a familiar unsettling murmur before a crescendo leads into the work’s euphoric finale.

A spritely fugue ensues, proclaiming the supremacy of the lower strings. The strings reprise their opening cry only to be overwhelmed by the primary theme once again. An ominous murmur in the lower strings is quickly overpowered by the aggressive interruption of brass who carry the movement’s opening theme. The third movement Scherzodeparts from the traditional minuet and trio. The movement’s variations, spun from two central themes, are executed through breathtaking duets between the lower strings and woodwinds. The second movement, Andante con brio, juxtaposes the chaos of the opening movement with tender lyricism and a theme undoubtedly more familiar to the nineteenth-century ear. Secondary thematic material threatens the chief musical idea, but the obsessive theme returns again and again throughout the opening seven minutes. With a single gesture, he unleashes unparalleled motivic development, fueling the movement’s relentless momentum. The movement’s central drama emerges from Beethoven’s masterful development of a nonsensical fragment. Beethoven’s audience would have been astonished by such a brazen introduction. The first movement begins with the thunderous and unmistakable four-note motif that forces its way through the orchestra. Mustering a new musical vocabulary, Beethoven harnessed the potential of the symphony to transcend mere entertainment.

The Fifth symphony marks a distinct shift in symphonic formula as it was then known. Despondent and frightened by increasing deafness, personal struggles, and Napoleon’s trampling of his homeland, Beethoven endured one of the most difficult years of his life. Sketches for the Fifth symphony are known to have existed from as early as 1804, but Beethoven would continue to shape the work over the next several years. 6, the entire Choral Fantasy, movements from his Mass in C Major, and the Fourth Piano Concerto, the provocative Symphony No. In an unheated Theater-an-der-Wien on December 22, 1808, Beethoven would produce one of the greatest concerts in history. Ludwig van Beethoven (1770-1827) Symphony No. Inspired by the scene descriptions and the music they are hearing, by the end of the concerto, each member of the audience will have created his or her own ‘mental movie’ of The Rose Of Sonora.” Prior to each scene being performed, a description of what is happening in that scene will be projected on a screen above the orchestra or read by a narrator. Rather than a passive listening experience, it will be an interactive one. I decided to use that as a way of presenting the concerto. I believe that for most of us, listening to music creates images in our minds. After researching the lives of outlaw women of the old west, I decided to create my own story and heroine, The Rose of Sonora.Įach of the five scenes tells part of her story. One of the features of the solo violin part is the merging of traditional fiddle technique with classic violin technique, giving the main character, Rose, her voice.Īs a film composer I am used to composing to a story. It is composed in five scenes (movements) for solo violin, symphony orchestra, and male chorus, but in the style of an epic Western film score. One of the most significant aspects of it to both Holly and me is that it be accessible to and engaging for today’s audience. “The Rose of Sonora is first and foremost a violin concerto.

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