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

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

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New post 19 May 2015, 07:17
5
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Question 1
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A
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E

based on 118 sessions

28% (02:56) correct 72% (03:08) wrong

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Question 2
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A
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C
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E

based on 116 sessions

18% (01:32) correct 82% (01:43) wrong

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Question 3
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E

based on 104 sessions

31% (01:13) correct 69% (01:25) wrong

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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"?

nostalgia
lack of focus
compromising
dense saturation
works on a smaller scale



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

It is compromising, and not vibrant like a piece typical of classicism
In it, for the first time, Beethoven explored concentration as an organizing principle for an entire symphony
It was more inwardly focused, less rhetorical than the F-minor String Quartet, Op. 95
It rejected the sonata style used in the Seventh Symphony, exploring completely new ways to organize music.
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?

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




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

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New post 26 Sep 2018, 22:34
Can someone explain Q2? I chose E because of these lines
Quote:
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.


How is answer E incorrect and B correct?
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last and  [#permalink]

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New post 26 Sep 2018, 22:36

+1 kudos to the posts containing answer explanations of all questions


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

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New post 26 Sep 2018, 23:41
Can anyone help with the second and the third question? Please provide support from the passage as well..

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

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New post 27 Sep 2018, 01:14
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If i get something like this in real exam, i am dead
We will appreciate magoosh team to explain this passage in detail
mikemcgarry can you help us with this passage?
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The Seventh Symphony (1812) was, at the time, Beethoven’s last and  [#permalink]

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New post 27 Sep 2018, 12:15
Someone please explain answers to Q2 and Q3.
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last and  [#permalink]

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New post 28 Sep 2018, 07:36
sananoor wrote:
If i get something like this in real exam, i am dead
We will appreciate magoosh team to explain this passage in detail
mikemcgarry can you help us with this passage?


I totally agree! :lol: :lol:
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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last and  [#permalink]

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New post 03 Oct 2018, 20:16
Sreyoshi007 wrote:
Can someone explain Q2? I chose E because of these lines
Quote:
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.


How is answer E incorrect and B correct?



I went with the Same reasoning.Can any one explain Question 2.

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Re: The Seventh Symphony (1812) was, at the time, Beethoven’s last and &nbs [#permalink] 03 Oct 2018, 20:16
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