Although Beethoven wrote lyrical and beautiful melodies, his radical music innovation, was relatable that of Haydn and Mozart. He, however, transitioned to romantic composition from the classical composition represented by his teacher, Haydn, and Mozart. There extensive use of marked but forceful and sometimes stark patterns of rhythms throughout their compositions especially in motifs and themes are not primarily melodic rather than rhythmic.

It is impossible to analyse Beethoven’s symphonies without considering his predecessors and other great composers. If Mozart’s or Haydn’s music and symphonies were composed to be profoundly entertaining, the Beethoven gets us engaged through all the things he expresses forcing us to have a stand.

Some later works of Haydn were more fluid between separate keys. Beethoven’s ability to innovate aimed at establishing a solid juxtaposition in separate keys. This would then join the unexpected notes and keys. This innovation expanded the realms of harmony creating a perception of high musical and space, experiential, through which music moved. It also led to the development the music material creates in the event that drama unfolds in that space.

Beethoven’s works and development are classed into three periods. In the early period, his works show Haydn and Mozart influences. In his middle period, he matured and developed his own unique style which is characteristically heroic. In the late period, his works were highly individualised, evolved and fragmented with unorthodox styles known as sublime and transcendent. These styles were evident in his attempts to mix Bach and Handel’s baroque ideas with his icons Haydn and Mozart.

To understand Beethoven’s early symphonies, one must first study Mozart’s and Haydn’s works. The first and second symphonies of Beethoven are a continuation of the symphony tradition-Viennese. This tradition, Viennese, is mainly represented by Mozart’s and Haydn’s compositions. These compositions are defined by the use of maximum rigour in theme creation, the expression means and creating a musical architecture.

Beethoven’s third symphony, Eroica, marks a new journey in his musical creation. Eroica’s background is programmatically strong. It predicts the start of the romantic symphony. For the first time ever in a musical genre, a march is introduced in a symphony on the second part. Classical symphony starts fading away.

The next symphonies he composed were built on this work. They were surprised and innovating at the same time. The sonata form in the fifth symphony makes is characteristically unique. The Pastoral was his sixth symphony. It is perceived to be a collection of symphonic poems linked by melodic motifs that are related (“Beethoven: Musical Style and Innovations”).

There are new elements in Beethoven’s seventh and eight symphonies. These elements express the aesthetic value of musical content. His ninth composition was his final work. It represents his apogee on the symphony. The Choral, as it is popularly known, depicts the creation of expression means in music that is exploited by him. A choir is introduced on the fourth part.

Beethoven’s popular themes, like those first movements in the Third, Fifth and Ninth symphonies are non-melodic figures. These rhythmic figures consist of single chord notes, last movement themes in the Third and Seventh symphonies can be described accurately as rhythms and not melodies. The rhythm use was basically suited for Beethoven’s music development because rhythmic patterns can be taken easily into a succession of varied even remote harmonic regions and keys, unlike a melody. This would, in turn, convey and retain unity, which has been underlying all time long. Therefore, Beethoven was able to combine various theme features in many different ways, extending Haydn’s development techniques.

On larger orchestras, Beethoven created a trend that lived through to the first decade in the twentieth century. This trend became the centre of the orchestra on sound downwards to the violins’ and cellos’ lower register and that of the violas. This gave his music a darker and heavier feel than that of both Mozart and Haydn.

Beethoven’s fifth symphony came up with a motif that was similar to Haydn’s symphony. This striking motif was in the beginning bar and it echoed different forms in all symphonies’ four movements. This was the first cyclic form occurrence (“The Beethoven Symphonies Page | All 9 Beethoven Symphonies Analysed”).

Beethoven normalised what had been viewed as unusual previously. For instance, in the fifth symphony, he constructed a dark march which he exploited as a third movement instead of using the minuet. This march ran into the fourth movement uninterrupted.

For the very first time, Beethoven’s Ninth symphony contained solo voices and chorus on the fourth movement. Fugues were extensively used which had been viewed to be a different music form and unusual symphonies.

There was a noticeable contrast between Mozart and Beethoven. Unlike Mozart, Beethoven struggled heavily on his work, creating intermediate drafts that offer useful insight to his creative and innovative process. On the score of his Ninth symphony, Beethoven substituted actual notes for vertical marks as the drafts reveal. This shows the structure his mind conceived for the melody. His sketchbooks have been studied to understand the use of many variations on a specific theme, changing topics to suit the evolving structure and other sketches for alternative melodies.

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