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Mar 24, 2016 · – Prestissimo, Maestoso, Molto prestissimo: Seid umschlungen, Millionen! Beethoven changes the usual pattern of Classical symphonies in placing the scherzo movement before the slow movement (in symphonies, slow movements are usually placed before scherzo).
Maestoso is a musical term that indicates a style of playing that is majestic, dignified, and often slow in tempo. This term often conveys a sense of grandeur and nobility, typically used in various forms of classical music to enhance the emotional impact of the piece.
Maestoso (Italian pronunciation: [ma.eˈstoːzo]) is an Italian musical term and is used to direct performers to play a certain passage of music in a stately, dignified and majestic fashion (sometimes march-like) or, it is used to describe music as such. [1]
In this article I attempt to interpret Beethoven's use of the term maestoso in op. 127 by asking the questions: what did maestoso mean in Beethoven's time, what does it mean in Beethoven's works, and what does it mean in particular for op. 127? From this discussion, I construct a reading of op. 127 that expands upon
An “old style” orchestration of divided violas and cellos, and wind instruments as the sound of an organ, lead to a choral hymn that first drops “headlong” to its knees in supplication, then gradually rises upwards to seek the Creator in the heavens.
But then, the tub-thumping final maestoso begins with a series of huge organ chords – Saint-Saëns piles in trumpets, horns, quadruple winds, cymbals and even a piano played four-hands.
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Following a pause, the pace drops to an andante maestoso in 3/2. For the first time since the Scherzo, the trombones are involved in the orchestral texture. They ably assist the lower strings in leading the choir, all in unison, into the words “seid umschlungen, millionen!” (O ye millions, I embrace you!).
