7. Symphony No.3 in E flat major (Op. 55)

 Also known as Itallian ‘heroic’. Is landmark musical that created of the compposer “middle-period”. Is a widely composed as a mature expression clasical style of the latest eighteen century and also defiding an romantic style of the latest nineteen century. This composed clompeted in 1804 and first perfomed in April 7th,1805.

   1st movement: Allegro con brio

  In ¾ on sonata-allegro form. Open with two E flat major during the whole orchestra, First theme is intreduce by cello, and then fifth bar of melody, and a cromatic note and finish by the violin.  After the first theme is played by various instruments, the movement transitions to a calmer second theme that leads to the development section. The development, like the rest of the piece, is characterized by remarkable harmonic and rhythmic tension due to dissonant chords and long passages of syncopated rhythm. Most remarkably, Beethoven introduces a new melody in the development section, breaking the classical tradition that the development section only works with existing material. The development section leads back into the recapitulation; notably, the horns appear to come in early with the tonic melody while the strings are still playing the dominant chord. The movement ends in a long coda that re-introduces the new melody of the development section. Overall, the noble character of the movement has led to its being called a portrait of the hero celebrated by the work.

    2nd movement: Marcia funebre: Adagio assai in C minor

   The second movement is a funeral march in C minor with a trio in C major. The movement contains multiple fugatos, and its solemnity has led to its being used in public funerals.

     3rd movement: Scherzo: Allegro vivace

    The third movement is a lively Scherzo. The trio features hunting calls from the three horns.

     4th movement :  Finale: Allegro molto

    The fourth movement is a set of variations on a theme that Beethoven had used several times before. The theme first was used in the finale of his ballet music for The Creatures of Prometheus (1800), the seventh of 12 Contradanses, WoO 14(1800-1802) and later as a set of piano variations, Op. 35. The themes subsequent use in this symphony has given the Op. 35 set the nickname "Eroica Variations". The variations here are structured in a similar manner to those Op. 35 in that its the bass line of the theme which makes the first appearance and is subjected to a series of strophic variations leading up to the full appearance of the theme itself.

8. Symphony No.4 in B Flat Major (Op. 60)

  is a symphony by Ludwig van Beethoven, written in the summer of 1806. It was premiered in March 1807 at a private concert of the home of Prince Franz Joseph von Lobkowitz. The Coriolan Overture and the fourth piano concerto were premiered in that same concert.

^{Dedicated to}  Count Franz von Oppersdorff, a relative of Beethoven's patron, Prince Lichnowsky. The Count met Beethoven when he traveled to Lichnowsky's summer home where Beethoven was staying. Von Oppersdorff listened to Beethoven's Symphony No. 2 in D Major, and liked it so much that he offered a great amount of money for Beethoven to compose a new symphony for him. The dedication was made to "the Silesian nobleman Count Franz von Oppersdorf".

^{The Instruments:}

The symphony is scored for flute, 2 oboes, 2 clarinets in B flat, 2 bassoons, 2 horns in B flat and E flat, 2 trumpets in B flat and E flat, timpani and strings.

   1st movement: Adagio-Allegro vivace 2/2

    2nd movement: Adagio, 3/4 in E flat major

   It has stacato with the violin, cello, and bass. On the open it sounds slow and soft, but slowly it become hard and fast. Lilke that til the end. It swing like sunset in summer.

   3rd movement: Allegro vivace,3/4

   Sounds like mars. Feelin happy in summer time. Many creature singing, dancing, and playing in summer.

    4th movement: Allegro ma non troppo, 2/4

   At the final, the composer make some fast playing and some crowd noise like crowding people.

9. Symphony No.7 in A major, Op. 92

  This symphony created in 1811, was the seventh of his nine symphonies. He worked on it while staying in the Bohemian spa town of Teplice in the hope of improving his health. It was completed in 1812, and was dedicated to Count Moritz von Fries.

At its debut, Beethoven was noted as remarking that it was one of his best works. The second movement Allegretto was the most popular movement and had to be encored. The instant popularity of the Allegretto resulted in its frequent performance separate from the complete symphony.

First Movement

The first movement starts with a long, expanded introduction marked Poco sostenuto that is noted for its long ascending scales and a cascading series of applied dominants that facilitates modulations to C Major and F Major. From the last episode in F Major, the movement transitions to Vivace through a series of no fewer than sixty-one repeated E's. The Vivace is in sonata form, and is dominated by lively dance-like rhythms (such as dotted rhythms), sudden dynamic changes, and abrupt modulations. In particular, the development section opens in C Major and contains extensive episodes in F Major. The movement finishes with a long coda, which starts similarly as the development section. The coda contains a famous twenty-bar passage consisting of a two bar motif repeated ten times to the background a four octave deep pedal-point of an E. The critic and composer Carl Maria von Weber is said to have pronounced Beethoven "fit for a madhouse" after hearing this passage.

Second Movement

The second movement in A minor has a tempo marking of Allegretto ("a little lively"), making it slow only in comparison to the other three movements. This movement was encored at the premiere and has remained popular since. The ostinato (repeated rhythmic figure) of aquarter note, two eighth notes and two quarter notes is heard repeatedly. The movement begins with the main melody played by the violas and cellos. This melody is then played by the second violins while the violas and cellos play a second, but equally important, melody, a melody described by George Grover as "a string of beauties hand-in-hand". Then, the first violins take the first melody while the second violins take the second. This progression culminates with the wind section playing the first melody while the first violin plays the second. After this climax, the music changes from A minor to A major as the clarinets take a calmer melody to the background of light triplets played by the violins. This section ends thirty-seven bars later with a quick descent of the strings on an A minor scale, and the first melody is resumed and elaborated upon in a strict fugato.

Third Movement

The third movement is a scherzo in F Major and trio in D Major. Here, the trio (based on an Austrian pilgrims' hymn^[5]) is played twice rather than once. This expansion of the usual A–B–A structure of ternary form into A–B–A–B–A was quite common in other works of Beethoven of this period, such as his Fourth Symphony and String Quartet Op. 59 No. 2.

Fourth Movement

The last movement is in sonata form. Donald Tovey, writing in his Essays in Musical Analysis, commented on this movement's "Bacchicfury". The coda contains an example, rare in Beethoven's music, of the dynamic marking ƒƒƒ (called forte fortissimo or fortississimo).