Ludwig Van Beethoven, one of the world's greatest musical virtuosos to have set foot on earth, left us some of today's most fascinating works. Born in Germany, Beethoven learned to play the piano and violin from an early age. By the age of twelve, the musical genius had acquired enough practice to consider himself a promising pianist. It was not very soon before Beethoven's considerable talent was recognized by Count Ferdinand Ernst Gabriel von Waldstein. With Waldstein's help, the young Beethoven was able to travel to Vienna, where his career finally took off. During this time, he began to lose his hearing, eventually resulting in deafness. Despite this tragedy, Beethoven managed to compose music of the highest possible quality, including the famous Symphony No. 3 op. 55. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essay Symphony No. 3, op. 55, dedicated to Prince Franz Joseph von Lobkowitz, was first performed in August 1804. At the time of its release this piece was seen as a challenge to the symphonies. It required composers to rethink what they thought they knew about symphonies. For the public, the complexity of the piece of music went beyond a simple work of art; it was the work of a genius and could not have been accomplished without absolute talent. Since it has stirred up many conflicts in the music world, this piece has been performed by various orchestras around the world. One such performance was presented by the Vienna Philharmonic Orchestra in March 2009 under the baton of Christian Thielemann at the Musikverein in Austria. With a triple meter, the first movement is full of energy from the start, its liveliness is what captures the audience's attention. This first movement is also known as “allegro con brio” because it has a rather fast tempo. It opens with two striking E-flat major chords, following the sound of the cellos calming the music before entering a chromatic note, C sharp, and finally building; creating emotional intensity and conflict in the song as it progresses. The melody ends with a series of Gs played by the violins before the transition to the key of B flat appears. A rapid change from ascending and descending scales continues with the violins before leading the audience towards a second theme of a stronger, almost climactic melody. This moment is carried through the six consecutive forzarndo chords, sounding very similar to the way one might go through an emotional rollercoaster, happy and sad. After the concluding chords, the main theme returns briefly before moving into repetition. The remainder of the first movement is illustrated by harmonic and rhythmic tension due to harsh chords and accented rhythm measures. The music eventually breaks into bars of forzando chords that include both 2- and 3-beat counts and end with frighteningly strong forte chords. A new theme in E minor is introduced as the orchestra approaches the end where a horn appears with the famous E flat and the strings continue with this dominant chord. The second movement has a much slower tempo or “Adagio assai”. It's a simple double meter and drags dullness into the room. Played in C minor with splashes of C major, this transition from the first movement brings the lively energy to the somber. He opens the theme with gentle strings and continues with angry horns. Immediately afterwards, the related E-flat major quickly returns to a minor key, which develops throughout the rest of the section. At this point he begins to change the first theme to C minor, which leads to F minor. The first theme reappears briefly in G minor in the strings, followed by a.