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And here is number three. In my ears this is the best movement. Just wondering if Largo is the best description for it?

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There's a lot of good ideas in this one, but honestly, I had a hard time with it.  It sounded like it wasn't really going anywhere -- it seems to be more-or-less "saying the same thing", one way or another.  While the overall structure makes sense -- main theme, episode, main theme, etc., I felt a lack of forward momentum. While the opening was quite good in the sense of leaving the listener with an open question during the sudden pauses, afterwards not much was done in the way of "answering" these pauses; it just meandered on to a variety of different ideas, beautiful in themselves but seemingly just sights by the wayside rather than an integral part of the journey. And when the movement drew to a close I didn't feel a strong sense of conclusion, not much in the way of "resolving" the questions posed at the beginning; it just kinda peters out after the main theme has recapitulated.

Perhaps it was supposed to sound this way because it had to fit into the context of the surrounding movements, I'm not sure. Or maybe it's just my personal bias expecting something with more of a dramatic curve.  But on the whole, I found this movement quite difficult to get into. There wasn't anything that stood out to me particularly that would draw me back to want to listen to it again.

Interesting. I've had people liking this one more than the others for much the same reasons. I was a little unsure if it would fit in with the others at first.

I liked your 2nd mvmt (much) more than this one, but it may all just boil down to personal bias.  After all, I find the slow movement of Beethoven's 7th intolerable, but the opinion of the majority favors it. I much prefer the finale, but I hardly hear anyone talking about it (and when they do, it's criticism about how he got the themes from beer hall tunes).

Well, i guess that just goes to show that whatever you do you won't please everyone. I find a lot of Beethoven to loud and heavy.

I find Beethoven very relaxing to listen to, actually.  For me earlier composers are hit-or-miss... A lot of Mozart puts me to sleep, yet there are many that intrigue me (symphonies #40, #41, some chamber / piano works). Same thing with Bach... love his inventions and fugues, but find the Brandenburg concertos far too long. I can only handle so much polyphony before my brain starts tuning out. Handel bores me to death, while Haydn's more humorous pieces interest me, but I couldn't listen to Haydn all day -- after a while it all starts sounding the same; whereas I could listen to Beethoven all day. (Well, maybe not some of his lesser works... Creatures of Prometheus, for example, I find far too long and not having enough variety to hold my interest for long.)

I thrive on Mozart and Rameau and just love their light bouncy melodies. And for Mozart I like his earlier stuff more than his later. I have losten a lot to his string quartets while writing this. Learning his way of organising the structure. I know the thing now is to despise all that and write atonal anxiety orgys instead, but I just can't stand that shit. If it doesn't have melody it's not music in my ears.


H. S. Teoh said:

I find Beethoven very relaxing to listen to, actually.  For me earlier composers are hit-or-miss... A lot of Mozart puts me to sleep, yet there are many that intrigue me (symphonies #40, #41, some chamber / piano works). Same thing with Bach... love his inventions and fugues, but find the Brandenburg concertos far too long. I can only handle so much polyphony before my brain starts tuning out. Handel bores me to death, while Haydn's more humorous pieces interest me, but I couldn't listen to Haydn all day -- after a while it all starts sounding the same; whereas I could listen to Beethoven all day. (Well, maybe not some of his lesser works... Creatures of Prometheus, for example, I find far too long and not having enough variety to hold my interest for long.)

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