# Favourite Movements of Symphonies!



## Ramako

It is of course, a horribly stupid idea to say of the entire symphonic output, written over the course of 200 years "I like the x movements best". Hence the poll.

So, in general, do you enjoy symphonic first movements best? or slow movements? Or dances? Or finales? I have taken the standard four movement format, though of course the middle two movements especially are sometimes swapped around: the type/tempo of the movement matters more than the order.

Despite being a Haydn fan, where the slow movements (particularly in the London symphonies) are often the highlight, I like first movements best. They set the scene for the whole symphony, and still typically have a strong ending, giving them a well-rounded form. Often symphonies can feel like a first movement, followed by the other three collectively: I have no problem with this. It is this movement that has to grab the audience's attention. A failed first movement means the audience gets bored and detached, and the others have a hard time if this is the case. It has to be good.


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## TrazomGangflow

I enjoy the allegro movement the most. Its usually lively, energetic, causes me to anticipate the later movements. The finale is be my second favorite movement especially when it is very grand. If I really enjoy the symphony the finale almost saddens me, as if I must say goodbye to the symphony.


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## Manxfeeder

I believe in first things first.


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## Olias

Finales.......dessert is the best part of a meal.


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## Arsakes

I voted Adagio because of its kind in Bruckner (3th~8th), Dvorak (3th), Beethoven (3th,7th) and Schubert symphonies.

Finales and the beginning are tied as second. Who doesn't like them?! Brahms' 4th, Dvorak's 1th, 6th, 7th and 9th have best of both.

But scherzos are brief and loud experience. Mostly fun in a symphony, but least favorite among 4 movements! My most favorite Scherzo is Dvorak's Symphony No.2 second movement.

Many Symphonies actually don't look like the poll. For example there are Andantes rather Adagios, and Menuettos rather Scherzos.


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## Krisena

I never understood those damn menuets. What's the point of them? They're never interesting. Please explain to me what I'm missing, because it seems to me that the main trait of the menuet is that it has to be boring.

Other than that, I have lots of good examples of the other movement types, which makes it difficult to choose between them. Scherzos tend to be a little too light to give me any deeper satisfaction, but the scherzo of Johan Svendsens first symphony almost weighs up for that. There are a ton of beautiful slow movements and even more awesome finales.

I think I'm a Finale, slow movement, first movement and scherzo man, in that order.


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## Vesteralen

Much as I believe that nothing beats a really great finale, I had to go with the First Movement. It basically sets the tone for everything else. I can think of a number of symphonies I basically listen to only because of the First Movement, and only a handful that I listen to only for one of the others.

For me: Allegro / Finale / Menuet / Adagio

I'm not a slow movement guy. I usually am impatient to get them over with. Some minuets are so-so, but some (Mozart's 39th, for example) are very entertaining.


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## Ramako

Krisena said:


> I never understood those damn menuets. What's the point of them? They're never interesting. Please explain to me what I'm missing, because it seems to me that the main trait of the menuet is that it has to be boring.


I agree. But I also believe that what people don't like can be just as essential to the piece as the bits people do like. If it was lacking - then we'd notice the difference.


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## ComposerOfAvantGarde

I like the X movement.


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## Krisena

Ramako said:


> I agree. But I also believe that what people don't like can be just as essential to the piece as the bits people do like. If it was lacking - then we'd notice the difference.


Weirdly enought, this makes perfect sense. I interpret what you say as that you sometimes need a boring movement to attain perfect form or balance on the whole.


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## OpusEleven

Ramako, I agree with your comment about generalising the entire repertoire of symphonies. I don't know how I could choose _one_ movement from each of all the pieces I've listened to before. Sometimes there are multiple movements that I enjoy. Thus, when I listen to a piece for the first time, I like to do so without bias (well, to as far an extent as possible). Seeing that I've probably only listened to about thirty, or so, symphonies, this isn't so hard, though.


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## Art Rock

I'm a sucker for adagios.


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## afterpostjack

Usually finales and scherzi have the most appeal to me. But in some cases the adagio movement gains significant appeal to me. For instance: Bruckner 4, 7, 8, Beethoven 9 (never was particularly fond of his 7th symphony adagietto). I find that first movements often tend to be the least appealing ones. At least in the case of Bruckner.


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## MaestroViolinist

It was very hard to decide between the second movement and the finale, but I eventually went for second.


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## jani

Thanks to Beethoven i can't choose, but its usually the adagio movement what is my least favorite.


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## Ondine

Hello,

I voted for the First Movements but I have found that Hayden's Adagios are outstanding ones, sometimes better that the openings and First Movements. Don't you think?


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## Wandering

I voted for the dancish or scherzo movement simply to balance it a bit. It is often this movement I love most. It provides lightheartedness and fun to many symphonies. I can't imagine many symphonies without them. The movement before the storm in Pastoral by Beethoven is an excellent example. Also the 2nd movement in Titan by Mahler. The Scherzo in Bruckner 8th is indispensable, the only pure bursting joyful expression in the entire work. Schumann's 1st symphony scherzo is one of the highlights of the work, it is also quite dramatic. This movement is underated and is the best way to avoid a composer seeming overly sensationalist and brooding by adding a touch of 'fun' or inherent musical 'fun'dementality to their composition.


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## appoggiatura

I think this is a weird question because you can't compare it. There are some composers with great Allegros, some with great Finales, some with great Adagios.. etc. 
But if I had to chose, I'd say the Finales. I love that intensity and that climax. 
There are also symphonies with movements of equal greatness like Tchaikovsky's sixth, Rachmaninoff's second, César Franck's, Beethoven's Pastorale Schubert's unfinished etc.. All movements are perfect in my opinion. 

I saw a poster Krisena mention before that you need 'boring' movements for balance but I don't think it's needed. There can be four perfect movements in one symphony, but it's in the 'ear of the beholder'.


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## Mephistopheles

I voted for first movements because I tend to prefer their structure.


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## Ramako

appoggiatura said:


> I saw a poster Krisena mention before that you need 'boring' movements for balance but I don't think it's needed. There can be four perfect movements in one symphony, but it's in the 'ear of the beholder'.


Yes but he was responding to my idea.

Take the minuet movement of the Classical symphony pre-Beethoven. It turns out that it was Haydn who made this movement a part of standard symphonic form, unlike the three movement fast-slow-fast approach which had been adopted previously and was standard in concerto form. This is a very light movement - taken from dance - and was accused of being to light for the form at first. However, without this movement, the symphony actually has less weight. The lightness of this movements allows the weight in the others to come out more. Also in this period, very few people I think would say that the third movement is their favourite, just look at the poll, and yet when listening to the symphony as a whole there is nothing wrong with it.

The mind can grasp only so much, which is one reason why 'fillers' can be useful. They are not genuinely fillers of course, and prepare what is to come, but they allow the mind to rest from what has come, and prepare for what is to come. Composers must make use of a variety of methods if they are trying to overcome this. I simply say that just because one part of the work is less memorable, does not necessarily make it less good. Preparation is always necessary, and actually by the very nature of climaxes, one part of the work will distract from another.

This is to say nothing of proportions.


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## principe

All the movements have their role to play and they cannot be compared, since, in the vast majority of cases, the structure, the form is quite different. 
First Movements are practically always in pure Sonata Form, which is the best invention and achievement of Classical Music. However, in the Slow movements we can find some of the most beautiful and moving melodies (and not only).
The Scherzi have some of the most creative and inventive music, while the Finales, as the resolution of the whole work, have an appeal of their own, even if they are not always the crowning piece of the Symphony.
I vote for the whole work.

Principe


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## Andreas

With Mahler, I usually like the inner movements best. They are tighter in terms of form/structure.

Beethoven still put most emphasis on the opening sonata allegro (except for the Ninth of course), so I enjoy them the most. His slow movements, usually andantes rather than adagios, are wonderful too if they're actually played like andantes, not adagios.

In terms of real adagios, I adore Bruckner and Shostakovich.


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## Ramako

principe said:


> All the movements have their role to play and they cannot be compared, since, in the vast majority of cases, the structure, the form is quite different.
> First Movements are practically always in pure Sonata Form, which is the best invention and achievement of Classical Music. However, in the Slow movements we can find some of the most beautiful and moving melodies (and not only).
> The Scherzi have some of the most creative and inventive music, while the Finales, as the resolution of the whole work, have an appeal of their own, even if they are not always the crowning piece of the Symphony.
> I vote for the whole work.
> 
> Principe


I think that is the point of the poll. It isn't really about which movement - it's about whether you enjoy tight structure (M1), reflective atmosphere (M2), Quirky-type fun (M3), or a rip-roaring finale (M4). Of course the whole work is a whole entity, but it doesn't stop you having a favourite bit .


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## principe

By all means, we can have a "favourite bit", but, by focusing, discussing, voting, creating polls on the "bit", the latter becomes more important (more projected) than the "whole entity".

Principe


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## opus55

I usually like the first three movements and finale the least. I think it might have to do with my ability to focus after 20-30 minutes of listening. I used to only like first movements but now I enjoy adagios a lot too - I think I'm a more mature listener than before


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## Wandering

Anyone who is a symphony and/or movement minded person might want to take a gander at Beckett's Nacht und Traume, it's a good ego-deflatermause.


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## jani

First and final movements


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