between the Classical and Romantic genres.

The term 'Classical' music, for the majority of people, covers all aspects of music which is not popular or folk; it is thought of as 'high brow' and inaccessible. However, to the music historian, it has specific meaning in relation to style and period1. Classical music, dated from approximately 1760 to 1810, succeeded the Baroque genre, which is noted for its very complex and ornate musical texture and precedes the Romantic era. Romanticism, dated approximately from 1810 to 1890, it is a term used in music to describe an extensive range of works2. By necessity, these dates have to be approximated because there will always be an overlap between one genre and the next; obviously there cannot be a clear cut-off point and "in purely musical respects, certain genres and forms are common to both Classicism and Romanticism."3

During the Classical period, the form of music changed and the world saw the development of the concerto, sonata and symphony, the latter credited as the creation of Haydn, together with the string quartet and the instrumentation patterns within a piece of music. The themes of a piece were recapitulated, that is, repeated

Beethoven had become accessible to the general public, his work did not belong only to the aristocracy, as that of Haydn and Mozart, for example. Because of this; he gained a greater freedom, both for himself and for those who were to follow.

Beethoven's works have traditionally been grouped into earl, middle and late periods. The highly classical style of Haydn and Mozart is to be found in the early period, which also shows a "progressive mastery [which culminated] in the highly dramatic compositions"18 of the middle periods, dated approximately from 1803 to 1812. The late period, also produced some brilliant masterpieces, arguably the greatest of which is the Ninth Symphony, whose "special character had a profound effect on Bruckner and Brahms"19.

"From Beethoven on, they appeared before the public as independent creators

At the time of Beethoven's birth, Mozart was only fourteen years old and had completed his third opera, Mitridate. Haydn, at thirty eight, had completed his forty-first symphony6. Although not a child prodigy as was Mozart, Beethoven, under the tutelage of Christian Gottlob Neefe, was an able professional by the age of ten, becoming an adult salaried musician and composer by the age of fourteen7. Beethoven was greatly influenced by both Mozart and Haydn; Beethoven studied theory, for a short time with Mozart, whilst in Vienna in 1787, but unfortunately had to return home as his mother was ill; Beethoven returned again to Vienna in 1792 and was accepted as a pupil by Haydn, upon whom he made a strong impression as a "piano virtuoso and as a composer"8.

Listening to the Fifth Symphony can be equated with a ride on a rollercoaster; it is both exhausting and exhilarating, at one and the same time, bringing forth from the listener a whole range of emotions. As previously stated, the Fifth Symphony begins as if with a roll of thunder and a feeling of almost frenzied excitement, but then in sharp contrast, we are given a calm, legato melody in the second theme, which produces a feeling of relaxation before almost terrifying thundering of the horns and Clarinets in the development section34. The tension Beethoven has created in the music is then resolved by returning to the key of C minor35, as the whole orchestra thunders in unison.

sed or allowed these changes to occur will be discussed elsewhere, in some detail.

they "all emanate from the same motif, which dominates the whole symphony"32. It can be seen that Beethoven built upon the foundation laid down by Haydn, but that he extended it even further, as the rhythmic motif is passed around the differing instruments in the orchestra.

Undoubtedly, Beethoven paved the way for the larger orchestra's, which were to characterise the Romantic genre. The woodwind section of the orchestra is given equal prominence and furthermore, can be hears in a sudden, hushed interlude in the mini development of the Second Movement and in a strong dialogue with the strings during the development of the Fourth Movement. Beethoven liberates individual woodwind instruments, giving them their own role and in so doing may be argued to be more liberating than Berlioz is for his genre. For example, in the beautiful sound of the Oboe, which is heard in the Coda of the First Movement, three Trombones are suddenly heard for the first time, along with the Piccolo and Double Bassoon; they had not previously been used in symphonies33. Beethoven also had the luxury of using the clarinet, which had not been invented until 1770, an instruments which helps to enrich the texture of the music. Examination of this magnificent symphony clea!

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