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# The Seventh Symphony (1812) was, at the time, Beethoven’s last

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The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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Updated on: 28 Aug 2019, 04:35
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The Seventh Symphony (1812) was, at the time, Beethoven’s last and vibrant word on the big style he had cultivated in the previous decade. In the Eighth Symphony (1814) he does something new by seeming to return to something old. He writes, that is, a symphony shorter than any since his First. It is almost as though he wanted to call his entire development throughout that decade into question. Indeed, over the remaining years of his life he would confidently explore in opposite directions, writing bigger pieces than before and ones more compressed, his most rhetorical music and his most inward, his most public and his most esoteric, compositions that plumb the inexhaustible possibilities of the sonata style and those that propose utterly new ways of organizing material, music reaching extremes of the centered and the bizarre.

If, however, we think of the Eight as a nostalgic return to the good old days, we misunderstand it. To say it is 1795 revisited from the vantage point of 1812 is not right either. What interests Beethoven is not so much brevity for its own sake — and certainly not something called “classicism” — as concentration. It is as though he were picking up where he had left off in the densely saturated first movement of the Fifth Symphony to produce another tour de force of tight packing. He had already done something like this two years earlier in one of his most uncompromising works, the F-minor String Quartet, Op. 95. But a symphony is not a “private” connoisseur’s music like a string quartet; by comparison, the Eighth Symphony is Opus 95’s friendly, open-featured cousin, even though its first and last movements bring us some of the most violent moments in Beethoven.

1. The author implies which of the following is a characteristic of "classicism"?

A. nostalgia
B. lack of focus
C. compromising
D. dense saturation
E. works on a smaller scale

2. Which of the following does the author imply about Beethoven's Eighth Symphony?

A. It is compromising, and not vibrant like a piece typical of classicism
B. In it, for the first time, Beethoven explored concentration as an organizing principle for an entire symphony
C. It was more inwardly focused, less rhetorical than the F-minor String Quartet, Op. 95
D. It rejected the sonata style used in the Seventh Symphony, exploring completely new ways to organize music.
E. Compared to his other symphonies, it is a particularly esoteric public work, having both friendly and violent tendencies.

3. The passage provides support for which of the following?

A. Beethoven's Eighth Symphony would not be appreciated by connoisseurs.
B. The Fifth Symphony is the shortest symphony between the First and the Eighth.
C. In 1795, Beethoven composed works that contained less development than the majority of pieces over the next 15 years.
D. The F-minor String Quartet, Op. 95 is one of Beethoven's most esoteric works.
E. Later in life, Beethoven developed significant misgivings about the big development characteristic of Symphonies of his middle period.

4. Which of the following is the purpose of the first sentence of the second paragraph?

A. To introduce the differences between the Eighth Symphony and earlier works of similar scale
B. To indicate how Beethoven felt that nostalgia had no place in symphonic compositions
C. To explain what is so rough and uncompromising about a work such as the Eighth Symphony.
D. To emphasize that the Eighth Symphony had almost nothing in common with Beethoven's previous works, except in the most superficial assessment
E. To demonstrate why the Eighth Symphony was considerably more optimistic than were Beethoven's early works.

5. The author most likely mentioned the F-minor String Quartet, Op. 95 in order to

A. show, by contrast, how friendly and approachable the Eighth Symphony is
B. expand the list of Beethoven's works that could be called a tour de force.
C. provide an example of a work that is concentrated but not violent
D. cite another work similar in formal organization to the Eighth Symphony
E. elucidate the channel by which the Fifth Symphony influenced the Eighth.

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Originally posted by Gnpth on 06 Apr 2015, 05:05.
Last edited by SajjadAhmad on 28 Aug 2019, 04:35, edited 2 times in total.
Updated - Complete topic (321).
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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07 Apr 2015, 20:53
Hi

And these rc's are really good...!!
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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07 Apr 2015, 22:42
3
dpo28 wrote:
Hi

And these rc's are really good...!!

Here is the OE.

1. This is a detail question. Classicism is mentioned in the third sentence of the second paragraph. There, by means of an appositive phrase, it seems to equate "brevity for its own sake" with "classicism", so we need something that expresses an idea of brevity ---- of the five answers, only (E), "works of smaller scale", makes any reference to brevity. Choice (E) is the credited answer.

2. The credited answer is (B). The passage makes a big point of saying that, after the Seventh Symphony, Beethoven explored a new organizing principle. The First Symphony was short, but for a different reason. The first movement of the Fifth was concentrated, but in isolating the first movement of that work, the author implies that concentration is not the principle of the entire work. It is the principle of the entire Eighth Symphony, so this is the first time.

In Choice (A), the word "compromising" has a derogatory connotation, but the author clearly has a high opinion of the Eighth symphony. The passage says the Seventh Symphony was the "last and vibrant word on the big style …", so the Seventh Symphony is vibrant, but we have no idea whether any piece typical of classicism would be, nor is it implied that the Eighth is not vibrant. Choice (A) is not correct.

The first paragraph mentions the contrast of "rhetorical" vs. "inward-focused", without explaining it, and it's unclear which the Eighth Symphony occupies. We know that the Quartet was called "private", and the Symphony wasn't "private" --- if it's not "private", that sounds like it would not be "inward-focused". Choice (C) is not correct.

The first paragraph mentions the contrast of "sonata style" vs. "new ways of organizing music", but we have no evidence on which side the Eighth Symphony (or the Seventh Symphony!!) would fall. Choice (D) is not correct.

The first paragraph mentions the word "esoteric", but we have no idea how "esoteric" the Eighth Symphony is, and no idea how "esoteric" any other symphony is. Choice (E) is not correct.

3. The passage implies that the short First Symphony and other pieces exemplifying "classicism" were written before 1795, but after that, he wrote pieces in the "big style", at least up until 1812. Therefore, most of the pieces from 1795-1810 would be bigger, and thus have more development, than pieces from before 1795. Choice (C) is the credited answer.

The author calls the Eighth Symphony a "tour de force", which is high praise. This seems to indicate that it would be appreciated by connoisseurs. Choice (A) is not correct.

We know the First Symphony was short, and we know the Eighth was the shortest since the First. We know the first movement of the Fifth is "tightly packed", which presumably means a little shorter, but we have no idea about the rest of that symphony. We know thing about the other five symphonies in that stretch, so we have no basis on which to drawn this conclusion. Choice (B) is not correct.

We know the Op. 95 Quartet is "uncompromising" and an example of "concentration" in organization, but we have no basis on which to decide whether it is "esoteric." Choice (D) is not correct.

Choice (E) is misleading. The passage uses the phrase: "It is almost as though [Beethoven] wanted to call his entire development throughout that decade into question." This is a metaphor. It does not say Beethoven actually thought anything bad about what he had previous done. It just emphasizes how radically different the new direction was. There is no evidence in the passage that Beethoven actually called any of his work into question. Choice (E) is not correct.

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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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10 Jan 2018, 08:39
Which of the following is the purpose of the first sentence of the second paragraph?

To introduce the differences between the Eighth Symphony and earlier works of similar scale
To indicate how Beethoven felt that nostalgia had no place in symphonic compositions
To explain what is so rough and uncompromising about a work such as the Eighth Symphony.
To emphasize that the Eighth Symphony had almost nothing in common with Beethoven's previous works, except in the most superficial assessment
To demonstrate why the Eighth Symphony was considerably more optimistic than were Beethoven's early works.

OA is A

The author most likely mentioned the F-minor String Quartet, Op. 95 in order to

A. show, by contrast, how friendly and approachable the Eighth Symphony is
B expand the list of Beethoven's works that could be called a tour de force.
C provide an example of a work that is concentrated but not violent
D. cite another work similar in formal organization to the Eighth Symphony
E. elucidate the channel by which the Fifth Symphony influenced the Eighth.

OA is D
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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11 Jan 2018, 03:24
1. The author implies which of the following is a characteristic of "classicism"?

A. nostalgia
-> 1st sentence of 2nd paragraph said nostagia is wrong
B. lack of focus
-> not mentioned
C. compromising
-> 'He "had already done" something like this two years earlier in one of his most uncompromising work,
the F-minor String Quartet,Op.95
D. dense saturation
-> It is as though he were picking up where he had left off in the densely saturated~
it menas that classicism is not dense saturation.
E. works on a smaller scale
-> Correct
1. 'much brevity for its own sake'
2. The passage aruges that 8th symphony's one of trait is bigger.
classicism differs from 8th symphony so it is correct

2. Which of the following does the author imply about Beethoven's Eighth Symphony?

A. It is compromising, and not vibrant like a piece typical of classicism
-> it is vibrant.
B. In it, for the first time, Beethoven explored concentration as an organizing principle for an entire symphony
-> Not entire symphony. The passage said 8th sympnoy is new.(2dn sentence of 1st paragraph)
C. It was more inwardly focused, less rhetorical than the F-minor String Quartet, Op. 95
-> Correct
Last sentence of 2nd paragraph said
"by comparison, the Eight Sympony is Opus 95's friendly, open-featured cousin, (similar)
even though its first and last movements bring us some of the most violent moments in Beethoven. (diff)"
D. It rejected the sonata style used in the Seventh Symphony, exploring completely new ways to organize music.
-> completely new ways to organize music -> wrong
not organize music, but organize material
E. Compared to his other symphonies, it is a particularly esoteric public work, having both friendly and violent tendencies.
-> 'particularly' is not mentioned. Extreme expression.

3. The passage provides support for which of the following?

A. Beethoven's Eighth Symphony would not be appreciated by connoisseurs.
-> not mentioned.
B. The Fifth Symphony is the shortest symphony between the First and the Eighth.
-> not mentioned
C. In 1795, Beethoven composed works that contained less development than the majority of pieces over the next 15 years.
-> Correct.
'To say it is 1795 revisited from the vantage point of 1812 is not right either.
What interests Beethoven is not so much brevity for its own sake-and certainly not
something called "classicism" - as concentration."

: It looks like brevity is wrong. But this passage wants to said that
1795 includes brevity, but just it is not interest of Beethoven.
It means that 1795 Beethoven composed works that contained less development
D. The F-minor String Quartet, Op. 95 is one of Beethoven's most esoteric works.
-> 8th symphony is the most esoteric works
E. Later in life, Beethoven developed significant misgivings about the big development characteristic of Symphonies of his middle period.
-> 'misgiving' is wrong
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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12 Jan 2018, 08:36
The author most likely mentioned the F-minor String Quartet, Op. 95 in order to

A show, by contrast, how friendly and approachable the Eighth Symphony is
B expand the list of Beethoven's works that could be called a tour de force.
C provide an example of a work that is concentrated but not violent
D cite another work similar in formal organization to the Eighth Symphony
E elucidate the channel by which the Fifth Symphony influenced the Eighth.

OA is D
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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06 Sep 2018, 17:56

Official Explanation of Q5

This is a detail question. The F-minor String Quartet, Op. 95 is mentioned in the last two sentences of the entire passage. He cites this as another example of a another work organized by the principle of "concentration" or "tight-packing."

Choice (D) says exactly this --- both the Op. 95 Quartet and the Eighth Symphony share the "concentration" or "tight-packing" principle underlying their organization.

Choice (A) is misleading. The Eighth contains "violent" music, which doesn't necessarily sound "friendly and approachable". More importantly, the Op. 95 Quartet was cited primarily to demonstrate a similarity, not a different. Choice (A) is not correct.

The author happens to refer to both first movement of the Fifth and the entire Eighth as a "tour de force", but clearly, making a list of every Beethoven work that could be called a "tour de force" is not the author's concern. Choice (B) is not correct.

We know that the Op. 95 is an example of a concentrated work, but do we know whether that music would be described as violent? The passage calls it "uncompromising", which could be construed as "violent" --- certainly, we have no evidence that it is not "violent", so choice (C) is not correct.

The three works happen to be mentioned in that order --- Fifth, Op. 95 Quartet, Eighth --- but there is absolutely nothing suggesting there was a single chain linking those three works in particular. The idea of "concentration" seemed something that occupied Beethoven in his late years in general, and these are just three examples of this larger interest. Choice (E) is not correct.
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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06 Sep 2018, 17:58

Official Explanation for Q4

In the first paragraph, the author mentions a superficial similarity between the First Symphony and the Eighth --- they are both on the short side. In the first sentence of the second paragraph, he dispels any notion that there is any more profound similarity between them, and proceeds to talk about the new organizing principle used in the Eighth. This exactly what choice (A), the credited answer, says.

The author uses idea of "nostalgia" as a metaphor for the wrong way to interpret the Eighth, but we have no idea what Beethoven actually thought about nostalgia or whether he ever used it in any symphony. Choice (B) is not correct.

First of all, we don't know that the Eighth Symphony is "rough and uncompromising", and even if it is, it's not clear that anything in the first sentence of the second paragraph even vaguely refers to this. Choice (C) is not correct.

Choice (D) is too extreme. The passage later talks about deep similarities with two previous works, the first movement of the Fifth Symphony and the Op. 95 String Quartet. These examples contradict choice (D), so choice (D) is not correct.

Was the Eighth Symphony "optimistic"? Neither this word or this idea is discussed anywhere in the passage, so we have absolutely no basis on which to evaluate this claim. Choice (E) is not correct.
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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06 Sep 2018, 17:59

Official Explanation for Q3

A primary purpose question. The credited answer is (C). The whole passage is about the Eighth Symphony, and specifically, how it was a much more "compact" or "tightly packed" symphony that the previous "big style" symphonies. Thus, Beethoven had "new objectives" in composing the Eighth, as this answer says.

The passage mentions "inward" as examples of one extreme in Beethoven's late period. The Eighth Symphony is not "private," so it would seem it's not "inward." The passage also discusses the Op. 95 quartet as "uncompromising," and that piece is presented as a contrast to the Eighth Symphony, so it's unclear whether that term would apply. Choice (A) is not correct.

The passage uses the phrase: "It is almost as though [Beethoven] wanted to call his entire development throughout that decade into question." This is a metaphor. It does not say Beethoven actually thought anything bad about what he had previously done. It just emphasizes how radically different the new direction was. There is no evidence in the passage that Beethoven actually called any of his work into question. Choice (B) is not correct.

The passage does discuss Beethoven's new objectives in composing the Eighth, but it really spends no time analyzing other works—it just mentions a few in passing. The phrase in the answer "all of his previous works" is far too extreme. Choice (D) is not correct.

The passage is primarily descriptive, telling what Beethoven was trying to accomplish. The passage does call the Eighth a "tour de force," which is high praise, but other than that, really says nothing evaluative. What little is said is positive, but "call into question" sounds negative, so this doesn't fit. Choice (E) is not correct.
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last  [#permalink]

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21 Oct 2019, 00:36
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last   [#permalink] 21 Oct 2019, 00:36
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