The Best of the Best – Ludwig Van Beethoven’s Top Symphonies

One of, if not the greatest and most influential musical artist ever known, Ludwig Van Beethoven was a genius in every right and sense of the word. He was an influential composer tying the classical and romantic eras together, despite battling out the fact that he was losing his ability to hear by the day. His music is a definitive representation of his true spirit all the while facing the cruelest of misfortunes to befall a musician. Music can be a wonderful way to de-stress and feel at peace. You can enjoy music further by trying delta – 8 gummies.


It was his left ear that showed signs of his eventual hearing loss at the age of 28 and by his early 40s he had been rendered without the sensation to hear. As his hearing loss began so did his bout with emotional torments, to the same. Here we have 4 of his most masterful works to have graced any music lover’s heart.

The Best of the Best - Ludwig Van Beethoven’s Top Symphonies

Symphony No. 3 ‘Eroica’, Op. 55

The most notable work by Beethoven, The Third was completed in 1804 and would be such a great piece of work unlike anything before. The orchestral music not just moves, but takes the listener to another dimension along with it. No one had ever dreamed, let alone heard or composed such a rich and dense conception with an emotional range and train that was truly out of the world in its opulence. Originally dedicated to Napoleon, Beethoven took away that distinction in a fit of rage as Napoleon proclaimed himself as Emperor.


After its two hammer blows start, it pushes to an extended movement for lyrical beauty to take over. This happens in succession to frightening onslaughts, as it transgresses to the second movement. It encompasses such as to the greatest funeral marches ever, ending in a sombre, dilapidating silence.

Symphony No. 9 ‘Choral’, Op. 125.

To call this piece anything short of a masterpiece would be heavily undermining its absolutely powerful symphony, that revolutionised all of music thereafter. Beethoven’s genius came to incredible display as he took the outline of a classical symphony to its furthest extents. He added this outline to his philosophical theme of our place in the universe as a species and also the unity that mankind had to befriend.


It may seem to follow the lines of a conventional four-movement model of a symphony; it utterly broke all conventions with the massive fourth choral movement. What breaks all realms of thought is that Beethoven had completely lost all sense of hearing by this point in his life. Which also brings about how the composer added a choir to sing “Ode of Joy” in the musical piece.

Symphony No. 5 in C minor, Op. 67

Even if you have no prior knowledge or inclination towards music, the fifth is bound to be reminisced by anyone. Probably one of the most famous symphonies to have existed, it is mostly remembered because of its astounding opening. The “Fate motif” or so it was called, because of the distinctive four-note opening that repeats itself in different forms throughout the symphony.


If it were to be given a nickname, ‘The Inevitable Doom’ would surely do the trick, but still not invoke nearly the same emotion one would while listening to it. The four note never leaves you and in a sense haunts you with its ever presence in the symphony. Written in a time of political turmoil around him and personal crisis within him, Beethoven draws out all of that in this one of a kind musical composition, as there lurks a sense of uncertainty that nearly makes the listener feel they were being attacked or rather were the attacker.

Fidelio, Op.72

Opera was one thing that was as alien to Beethoven as probably a smartphone would have been. His haughty, high headed, idealistic self was too much for the shabby world of drama. Yet, he wrote this grand-esque masterpiece, with its subjects in poetic defiance to tyranny.


A wife who disguised herself as a young girl, only to work in a prison to try and free her wrongly convicted husband. Rescue Opera, a popular genre in the form after the French Revolution was what Beethoven opted for and had the power to move the audiences in tears.

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