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He grew up in Vienna in a family of fourteen kids, him being the twelfth born. His interest and skills in music became apparent as early as when he was eleven years of age. Because of this extraordinary gift, Franz was allowed to join Chapel Royal Choir. During his early life, he received his education at the Imperial Seminary, gaining vast experience in practical music. His liking for music saw him achieve great strides by completing six symphonies by the time he was 22 years. Other achievements that he made were twelve piano sonatas, eleven string quartets, and the Trout Quintet. In general, Franz grew up to compose an estimated six hundred and forty songs. Most of his symphony pieces are in C major. Like other orchestral pieces, his works were also overwhelming with what was perceived to be technical difficulties (Clive, 9).
The pieces are introduced with an unaccompanied unison theme that proceeds all the way to the 8th bar. It is a predominantly horn theme. Its purpose is that it acts to unify other subsequent themes and harmonize them at later stages to complement one another. This actually what brings forth the real feeling and function of the symphony. Later in the 8th bar, we find that the strings enter with a moving rhythmic triplet figure. This rhythm represents the feature of the first movement. From here, the next rhythm we progress to is a straight away lyrical episode, which takes in to consideration the initial 8 bars. These first bars are sustained with a solo woodwind.
From here, the symphony then proceeds with some variants at fist. Staccato strings come in here to bring up the theme. Some scholars have interpreted the early use of staccato here to be a pace setter for a later melancholic mood given these variants. The next thing is that the theme then moves to lower strings as the Andante carries on. The purpose of having adante here is to explore the themes as well as the assembled rhythmic material.
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