The first movement opens with the four-note motif discussed above, one of the most famous motifs in Western music. There is considerable debate among conductors as to the manner of playing the four opening bars. Some conductors take it in strict allegro tempo; others take the liberty of a weighty treatment, playing the motif in a much slower and more stately tempo; yet others take the motif molto ritardando (a pronounced slowing through each four-note phrase), arguing that the fermata over the fourth note justifies this. Some critics and musicians consider it crucial to convey the spirit of [pause]and-two-and one, as written, and consider the more common one-two-three-four to be misleading. Critic Michael Steinberg stated that with the "ta-ta-ta-Taaa", "Beethoven begins with eight notes. " He points out that "They rhyme, four plus four, and each group of four consists of three quick notes plus one that is lower and much longer (in fact unmeasured). " As well, the ". . . space between the two rhyming groups is minimal, about one-seventh of a second if we go by Beethoven's metronome mark".
The Symphony No. 5 in C minor of Ludwig van Beethoven , Op. 67, was written between 1804 and 1808. It is one of the best-known compositions in classical music , and one of the most frequently played symphonies.  First performed in Vienna's Theater an der Wien in 1808, the work achieved its prodigious reputation soon afterward. E. T. A. Hoffmann described the symphony as "one of the most important works of the time". As is typical of symphonies in the classical period , Beethoven's Fifth Symphony is in four movements .
And so, it begins. Beethoven's Fifth Symphony sounds its hammer blows of fate; or perhaps those four notes are a transcription of the song of a Viennese yellow-hammer ; or a symbol of war-time victory; or a transformation of a Cherubini choral song . Those first notes of Beethoven's symphony have been heard, interpreted, and explained as all those things and more. It's the single most famous symphonic trajectory of expressive minor-key darkness to coruscating major-key light.