Ludwig van Beethoven was born in December of 1770 in Bonn to parents Johann and Maria,who were excited and scared about the future of their newborn son. In his early 30s, he startedlosing his hearing and was completely deaf by the year 1819. However, the loss of hearing did notstop him from composing and he produced some of the most renowned works during this periodThe Symphony No. 5 in C minor of Ludwig van Beethoven, Op. 67, was written between1804–1808. It is one of the best-known compositions in classical music, and one of the mostfrequently played symphonies. First performed in Vienna’s Theater an der Wien in 1808, the workachieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as”one of the most important works of the time”.The symphony consists of four movements. The first movement is Allegro con brio, thesecond movement is Andante con moto, the third movement is Scherzo Allegro, and the fourthmovement is Allegro. The first movement opens with the four-note motif, which is the most famousmotifs in Western music. There is considerable debate among conductors as to the manner ofplaying the four opening bars. Some conductors take it in strict allegro tempo. The rest take theliberty of a weighty treatment. The second movement, in A? major which is the subdominant key ofC minor’s relative key (E? major). It is a lyrical work in double variation form, which means that twothemes are presented and varied in alternation. The third movement is in ternary form, consisting ofa scherzo and trio. It follows the traditional mold of Classical-era symphonic third movements,containing in sequence the main scherzo, a contrasting trio section, a return of the scherzo, and acoda.The first movement is like the first act of a great drama. It is cast in sonata form, but onewith a large measure of tension and irregularity. This movement is Allegro con brio, 2/4 meter.Opening motive primary important, the first theme based on overlapping presentations of openingmotive, second theme was more lyrical, closing theme begins conjunct, then turns disjunct. Theopening motive from bar 1 to bar 5 are presented by all the strings and clarinets in unison andrepeated one step lower. The first theme grows from overlapping presentations of the motive by thesecond violins, violas, and first violins in turn. This opening section ends with a strong cadence onthe dominant and general pause. The second theme from bar 59 to 63 begins with a gentle, lyricalphrase, and accompanied by the motive in the low strings. The phrase is played in turn by violins,clarinet and flute with violin after which it is extended by a rising sequence in the violins. At thesame time, the rhythm of basic motive continues to assert itself in the lower strings, as a climax inpitch and dynamics is reached. For the closing themes, from bar 95 to 100, the rhythm of basicmotive returns and the exposition ends with a feeling of great power and a complete pause.