The first movement was in sonata form, in 3/4. It was quite long but full of excitement. The dynamics were a significant part of the composition. Just after beginning, the dynamics went down to piano, staying so quiet it was almost difficult to hear, then they built up and increased the tempo to create a running foreword sound. The work would start of quietly, using an oboe or two for a simple melody consisting of many major intervals, then repeat with adding other instruments. Then eventually it built up to something loud and triumphant, thereafter tricking you by going back to the quiet, simple section once more. This happened throughout the piece, but some of the piano sections were major, and some minor. Towards the ends, the violins played scales beginning on one note then moved and repeated on a different note to assist with the final build up. Once the dynamics began to stay in forte, the instruments played several repeated chords, leading to the finish. However, after all that waiting for the grand resolve, they reach the final tonic chord but in a very plain matter. A loud, triumphant finish was to be expected, but the audience did not get that satisfaction.
The second movement was a funeral march in the key of C minor. It also was a lengthy work, consisting of many sections. In contrast to the first movement, this one was mostly in minor, with a few major sections that gave an image of the sun peaking out from being the clouds on a rainy day. Being a funeral march, the minor key assisted in conveying the sadden, solemn emotion of mourning. However I do believe that a march typically has a base beat that keeps the piece going consistently, while this composition was all over in terms of tempo and dynamics–although doing so did create a more enjoyable piece. The most significant major section was pleasing to the ear, for it took the edge and intensity away from the slow, piano minor chords that built up to fast, forte ones. FInally, the ending, like the first movement, was very subtle. This one just faded away.
The third movement, the allegro, vivace, was in 3/4. Unlike the first two, this movement was rather lively and upbeat.Being in 3/4 it sounding similar to a waltz, or something one could dance to. Just as the others, dynamics played an important role in the composition, and the sudden contrast between piano and forte was refreshing. The motif used in this one was repeated many times and in different variations. The finale of this movement was satisfying to hear, unlike the other movements which just faded away. The performers played out a long tonic chord, fulfilling the desire for a grand resolve.
Finally, the fourth movement, the allegro molto, was based on variations of a theme previously used by Beethoven. This piece was perfect for the finale for such an epic. The dynamics were very evident and the tempo changes kept the work moving. The beginning was playful and lively, and as it went on, everything became more serious and grand. There were smiles on the faces of the audience, expressing the finishing sound to the piece. It was as if the piece was the music to a great hero story and this was the ending when everything turned out happily. The horns aided in creating a smooth, triumphant melody, and all the instruments worked together for the crescendos and climax. Words to describe the composition would be triumphant, beautiful, and engaging.