BEETHOVENSymphony No. 5

Music Capital of EuropeVienna

Background InformationBeethoven

Ludwig van Beethoven (1770-1827) German Crucial figure in the transitional period between Classical and

Romantic period Difficult family life and relationships As artists/composers/writers/poets do, Beethoven’s work reflected

his emotional state and life experiences The Heiligenstadt Testament is a letter written by Beethoven in

1802 in the village of Heiligenstadt to his brother. It reflects his despair over his increasing deafness and his desire to overcome his physical and emotional troubles in order to complete his artistic destiny.

For my brothers Carl and [Johann] Beethoven.

Oh you men who think or say that I am malevolent, stubborn, or misanthropic, how greatly do you wrong me.

You do not know the secret cause which makes me seem that way to you. From childhood on, my heart and soul have been full of the tender feeling of goodwill, and I was even inclined to accomplish great things. But, think that for six years now I have been hopelessly afflicted, made worse by senseless physicians, from year to year deceived with hopes of improvement, finally compelled to face the prospect of a lasting malady (whose cure will take years or, perhaps, be impossible).

Though born with a fiery, active temperament, even susceptible to the diversions of society, I was soon compelled to isolate myself, to live life alone. If at times I tried to forget all this, oh how harshly was I flung back by the doubly sad experience of my bad hearing. Yet it was impossible for me to say to people, "Speak louder, shout, for I am deaf." Ah, how could I possibly admit an infirmity in the one sense which ought to be more perfect in me than others, a sense which I once possessed in the highest perfection, a perfection such as few in my profession enjoy or ever have enjoyed.

Oh I cannot do it; therefore forgive me when you see me draw back when I would have gladly mingled with you. My misfortune is doubly painful to me because I am bound to be misunderstood; for me there can be no relaxation with my fellow men, no refined conversations, no mutual exchange of ideas

I must live almost alone, like one who has been banished; I can mix with society only as much as true necessity demands. If I approach near to people a hot terror seizes upon me, and I fear being exposed to the danger that my condition might be noticed. Thus it has been during the last six months which I have spent in the country.

By ordering me to spare my hearing as much as possible, my intelligent doctor almost fell in with my own present frame of mind, though sometimes I ran counter to it by yielding to my desire for companionship. But what a humiliation for me when someone standing next to me heard a flute in the distance and I heard nothing, or someone standing next to me heard a shepherd singing and again I heard nothing.

Such incidents drove me almost to despair; a little more of that and I would have ended my life - it was only my art that held me back. Ah, it seemed to me impossible to leave the world until I had brought forth all that I felt was within me. So I endured this wretched existence - truly wretched for so susceptible a body, which can be thrown by a sudden change from the best condition to the very worst. - Patience, they say, is what I must now choose for my guide, and I have done so - I hope my determination will remain firm to endure until it pleases the inexorable Parcae to break the thread.

Perhaps I shall get better, perhaps not; I am ready. - Forced to become a philosopher already in my twenty-eighth year, - oh it is not easy, and for the artist much more difficult than for anyone else.

Divine One, thou seest my inmost soul thou knowest that therein dwells the love of mankind and the desire to do good.

Oh fellow men, when at some point you read this, consider then that you have done me an injustice; someone who has had misfortune man console himself to find a similar case to his, who despite all the limitations of Nature nevertheless did everything within his powers to become accepted among worthy artists and men.

You, my brothers Carl and [Johann], as soon as I am dead, if Dr. Schmid is still alive, ask him in my name to describe my malady, and attach this written documentation to his account of my illness so that so far as it possible at least the world may become reconciled to me after my death.

At the same time, I declare you two to be the heirs to my small fortune (if so it can be called); divide it fairly; bear with and help each other. What injury you have done me you know was long ago forgiven.

To you, brother Carl, I give special thanks for the attachment you have shown me of late. It is my wish that you may have a better and freer life than I have had.

Recommend virtue to your children; it alone, not money, can make them happy. I speak from experience; this was what upheld me in time of misery.

Thanks to it and to my art, I did not end my life by suicide - Farewell and love each other - I thank all my friends, particularly Prince Lichnowsky and Professor Schmid - I would like the instruments from Prince L. to be preserved by one of you, but not to be the cause of strife between you, and as soon as they can serve you a better purpose, then sell them.

How happy I shall be if can still be helpful to you in my grave - so be it. - With joy I hasten towards death. - If it comes before I have had the chance to develop all my artistic capacities, it will still be coming too soon despite my harsh fate, and I should probably wish it later - yet even so I should be happy, for would it not free me from a state of endless suffering? - Come when thou wilt, I shall meet thee bravely. - Farewell and do not wholly forget me when I am dead; I deserve this from you, for during my lifetime I was thinking of you often and of ways to make you happy - be so -Ludwig van BeethovenHeiglnstadt,October 6th, 1802

Beethoven started sketching out ideas for his 5th symphony in 1804. They were pretty boring and not very unique, though.But Beethoven has a reputation for constantly editing and experimenting with his pieces, taking a long time to sharpen and simplify them.And this is exactly what he did with the fifth!

Over the next four years he wrote different ideas out again and again, honing and polishing what he already had.He finished the final draft in 1808 - four years after he started. I hope he threw a party to celebrate!

The premiere in Vienna didn't go too well though.The fifth symphony was at the end of a loooooong concert packed with lots of other new Beethoven pieces. By the time the fifth started, the audience was too tired and cold from the icy winter outside to listen properly. They didn't see how great it was.

It wasn't until E.T.A. Hoffman (who wrote the Nutcracker ballet story) wrote an incredibly glowing review of Beethoven's 5th that the public started to really appreciate it.Hoffman raved about how perfectly interconnected and flowing the symphony was. He proclaimed it as the masterwork of a genius. I find it hard to disagree!!

More on the Symphony No. 5

Symphony No. 5, Op. 67 was written when Beethoven was in his mid-thirties, his personal life was troubled by hearing difficulties.

The European continent was troubled by the Napolean Wars..

The symphony was dedicated jointly to Prince Lobkowitz and Count Razumowsky, despite the fact that Beethoven had agreed to sell it to Count Franz von Oppersdorff for the sum of 500 florins.

Gimme more… It is his first minor symphony He started sketching the ideas in 1804, completed in 1808, and

had its first performance at the Theater an der Wien in Vienna on December 22nd that year

In that concert, Beethoven conducted his 6th Symphony and Fourth Piano Concerto, two movements from his Mass in C and concluded with the Opus 80 Choral Fantasia. The whole concert was 4 hours. The orchestra only had 1 hour rehearsal before the concert.

The theatre was freezing cold and reception was not good. The first printed edition of the symphony appeared in April 1809

By 1813 the critic E.T.A Hoffman was praising it as "indescribably profound, magnificent" and the very epitome of the work of the man he considered to be Europe's greatest composer.

This opinion was to be shared by many other commentators in the nineteenth century, thus establishing its enduring reputation as one of the greatest works in the history of Western music.

Looking at the scores + Listening to the music

Figuring out what is the main idea/s, structures/sections, what instruments are used, the key, the tempo, the texture….. (music elements and features)

Doing it in-depth (the next level), we try and explain why the composer write their piece in the way they do

Music Analysis

Analysis continued…

we need to identify and describe in detail on how elements/compositional devices are used by composers.

Music Elements- BEATS

Beat The regular pulse or speed you can hear in

music. In analysis the beat is often talked about in

relation to the tempo of the music.

Rhythm The different lengths of sound/silence that

occur during the music. In analysis you can talk about the

pattern/bars/accent/time signature/metres used in the music. Especially in relation to the patterns, you can talk about syncopation/imitation/repetition used in the music.

Music Elements- RHYTHM

Music Elements- PITCH Pitch The high/low notes used in music. It has two main sections: melody and

harmony. In analysis you can talk about the shape and direction of the melody or tune

being long/short/haoppy/sad/smooth/flowing/jagged/repetitive/varied/detached/ascend/descend/remain on the same pitch.

You can also talk about how range of notes, the intervals, scales and accidentals are used

In analysis you can talk about the harmony by describing the use of chords and whether they are expected/related to the key.

You can also talk about the effects created by the combination of notes played/sung at the same time.

Music Elements- DYNAMICS

Dynamics The varying levels of soft and loud sounds used in

music. These levels often vary throughout the music. In analysis you can talk about the dynamic expression

used in music: ppp/pp/p/mp/mf/f/ff/fff (in order from soft to loud), and the changes in dynamics: cres/decres/dim

You can also talk about the sudden changes in dynamics such as sf, and the effects it has on the audience.

Music Elements- TEMPO

The speed of the beat in the music. It can refer to the constant pulse (beat) or gradual increase/decrease in speed that may occur in music.In analysis you can talk about the terms adagio/andante/moderato/allegro/presto, and its emotions and effects the audience are expected, and whether these expectations are changed by changes in tempo such as use of accelerando/rallentando/ritenuto/a tempo.

Music Elements- TIMBRE

Timbre The quality of sound produced

by the performing media. Every sound has a different tone colour. This quality of sound may vary depending on how the performing media is played. It will also vary according to the style and medium of the music.

In analysis you can identify the instruments used, the varying technique played by the instrument, the different combination of sounds used, whether is expected from the genre of composition written, and the effect it created for the audience.

Music Elements- ARTICULATION + EXPRESSION

Musical markings on the score are performance or expressive directions to be achieved.

In analysis you can discuss the use of these musical markings such as slurs, staccatos, accent, pauses etc… all help to achieve the effects composers want the audience to feel.

Music Elements-TEXTURES

The layers of sound contained in music. It relates to the degrees of ‘thickness’ and ‘thinness’ of music.

In analysis you can talk about the way different sound sources and instruments are put together to create music.

Music Elements-STRUCTURE

The organization of sounds in music. Composers lay down a good foundation and organization of the musical elements mentioned above in such a way that the music is balanced and yet has sufficient contrasts to make the piece interesting. There are several techniques composers employ, the following presents the main techniques:

What is a SYMPHONY?

Symphony An elaborate musical composition for full orchestra, typically in four

movements, at least one of which is a additionally in sonata form

Movements in Symphony?

Like chapters in books

Movement Structues

Within each movement/chapter, the composer can choose the type of structure/format he/she uses

Sonata Form in Movement

Beethoven- Symphony No. 5, Op. 67

Written between 1807-1808 Duration: 30 minutes Instruments used: woodwinds: 2 flutes, 2 oboes, 2

clarinets in Bb & C, 2 bassoons, contrabassoon (4th movement only); brass: 2 horns in Eb & C, 2 trumpets, 3 trombones (alto, tenor, bass, 4th movement only); percussion: timpani (in G-C); strings: violin I, violin II, viola, cello, double bass

Movements: 4

Timbre + Instrumentation

Flute

Oboe

Clarinet in Bb

Bassoon

Horn in Eb

Trumpet in C

Timpani

Violin 1

Violin 2

Cello

Double Bass

Baroque V.S. Classical

Transposing Instruments

Instruments that has a has different sounding/written notes.

You can tell by looking at the score, the transposing instruments have different key signatures

Double bass sounds one octave lower than written Trumpet in C. is a different kind of trumpet

compare to modern day trumpet. Weirdo instrument (some kind of valve that hasn’t been invented yet)

Corni in Es is Horn in Eb (like alto sax) Clarinetti in B. is Clarinet in Bb

Tempo , Time Signature/Metre,

Key/Tonality, Allegro con brio ‘fast with spirit’ 2/4 – simple duple time C minor

Structure

Sonata form

This movement is constructed according to the ratio of the Golden Section (that is, 8:13), in which the length of the repeated exposition bears the same relationship to the rest of the movement as the rest does to the whole.

Melody

Opening motive used as basis of first theme (overlapping repetition)

2nd theme is more lyrical

Rhythm Great rhythmic energy Contrasts in

instrumentation/timbre Creative use of melodic

materialsThe movement focuses on one motive, a repeated note figure that is unharmonized (everybody plays the same note) at the beginning

Usage of Rhythmic Motive

The opening motive is extended into various parts First Subject / Theme

The hallmark motif of Beethoven’s Fifth Symphony has had tremendous appeal well beyond the realm of classical music. During World War II, for instance, Allied forces used it to signal a victorious moment, as its rhythm—short, short, short, long—matched that of the letter V in Morse Code.

Opening motif played, repeated a tone lower with

longer last note.

See how it’s passed around the instruments

Cello holding C minor chord, then G

(chord I to V, tonic to dominant)

More motif workThen build up from p to

f

Only Violin 1 is holding the note at the pause

ff!!!!Louder and more

dramatic!Pause!!!

Then back to p

Motif is passed around in different instruments, and in various ‘versions/disguises’Dynamic-wise, crescendo,

building up to sf

*sf !*Also repetition in

unison*Shorter note values

*Notice the pitch raises *Reinforces the key

signature/tonality of C minor

End of 1st Subject

Transition:Optimistic Horn

fanfareIn Eb major (relative

major)Same rhythm as

motif in 1st subject, but much more

hopefulLoud then suddenly

to p

Violin comes in

with a contrasting

, lyrical theme

French horn!

Modulate (change) into Eb major Theme 1 leading into Theme 2

Horn (Bb -> Eb)

inverted to

Violin (Bb -> Eb)

The cellos and basses still play the opening

motif though

imitatio

n

imitation

Sequence in Violin 12nd Subject

Happy!!Closing bars of Exposition

Pitch descending

The highlighted yellow- Bb chord (which is dominant

to the Eb Major)

Still using the Motif :D

Ending Section still using the motif!And then ….(yellow) REPEAT

Horn starts the Development

Section!

C minor chord

Paused!

Harmony has a F minor chord (subdominant of C

minor)Melody/Rhythm reuses the

motif

Sequence and repetition taking place

Additional (longer/tied minims) after the motif

More motivic work hereMotif in pitch is (same same same, lower)

See the strings and bassoon partsMotif in rhythm is (quaver *3 , long note) see

orangeHalf of the 2nd subject (crotchets) see green

What’s Happening?

How is climax achieved here?

Contrar

y moti

on be

tween

ww/brass

v.s. st

rings

Motivic breakdownContrary motion

Call and Response between

Ww/brass v.s. stringsHarmony with

ww/brass (Dominant) v.s. Strings (Tonic)

repetition

More dialogue happening, but shortenedDynamic softening, creating ambiguity

Unusual harmony, absence of motif, slower rhythmic motion

Motif re-appears in (more) original form!Dynamic louder! Reassurance. But then still

dialogue.

Repetition increases tension

Recapitulation SectionReturn of 1st Subject/Theme, Motif in full

force

Back in tonic (C minor)

Thicker texture and timbre compare to

Exposition

Oboe solo creating a lament/curiosity feel

Orchestra drives on regardless

How is tension created and held here?

Brass reinforceme

nt

Bassoon plays 2nd subject (horn

played it in Exposition)

2nd Subject comes back in C major (tonic major)

(compared to Eb in the Exposition)

Motif play~1st subject and 2nd

subject materials used simultaneously

Closing theme (appeared in exposition too) (descending scalic

sequence)

Harmony still in C major (see the accidentals)

Motivic prominence

Timpani!!!Motif!!!

Return to C minor tonic

New theme in CODA!

What’s happening with the Texture?How’s the 4 note

motif manipulated in this bit?

Motif fullreturn

Imitative instruments with slightly altered melodic

materialFirm C minor chord in the

bass

Cadence of V-I-V-I-V-I Blah blah blah blah blah

blahIntense fillers

With motif appearanceTexture in unison rhythm

What the performance look like

Compare the 2 symphonies

Compare the two performances

Symphony No. 52nd movement

Tempo indication: andante con moto Key: Ab major Time signature: 3 / 8 Structure/form: double variation form

(A, B, A+, B+)

The contrast

Slower and calmer Contrasting key Theme and variation form, although lacking in

clear sectionalized variations More development happening within the

‘variation’ part

Viola + cello has opening melody.

It’s reflective (p + dolce)Bass doing pizz.

In Ab major. Triple time.The dotted rhythm gives it a

lilting effect

Thinner texture and timbre, lesser

dynamics reflecting the calmness in mood.

Imitative passages between the ww/brass

and strings

Full orchestra closing the 1st

theme

2nd theme uses the motif from 1st

movement, then again a couple notes higher

in sequence

Varied textureHorn importance for bringing the melody

for 2nd theme

Sudden pp to ffWith full orchestra in unison leading into a new key

Development of 2nd theme, plus ww+brass prominence

with string accomp. In C major! Fanfare!

Drop in dynamics from ff to pClosing of 2nd theme

1st theme return in

variation on viola and cello

Violin and bass pizz.

We are back in Ab

Closing of variation on

1st theme

2nd them

e

Varied accomp. texture, also

elongated endings

More variation with rhythmic, melodic,

dynamic, texture and timbre elements with

2nd theme

2nd theme variation in C major!

Elongated ending on 2nd theme variation, bringing it

to a close

Elongated transitional sections Theme 1 returns in another variation

Melody transfers to Violin 1Ww+ brass takes the accomp as well as

lower strings

Build up into semiquavers in unison and loud dynamics

Lower strings takes over the melodic materials

Eb major scale repeated octave

higher

Strings with chords softly

Clarinet comes in with melody (theme 1)

Answered by bassoon, then ww sectional (without

strings!)

Theme 2 re-enters

Theme 2 in C major

Strings with some suspecting melodic twist (still using that

dotted rhythm

and parts of the

themes

Contrasting textures between the instruments

Build up with intruments

Raising scales

Theme 1 returns in ‘Piu moto’

more movemen

t, in bassoon. Strings accomp

And back to original

speed

Wind with Theme 1

Strings with fragment of

Theme 1

Unison to finish the

movement. In Ab major.

Symphony No. 53rd movement

Tempo indication: allegro (scherzo) Key: C minor– C major– C minor Time signature: 3 / 4 Structure/form: scherzo & trio form An important note: there’s an attaca (which

means no stopping between the movements for the orchestra) at the end of the 3rd movement. Haydn’s one doesn’t have that.

Scherzo over Minuet

One of the important changes made in the Classical symphony in Beethoven’s time was the replacement of the third movement minuet with a scherzo or some other style of composition. A scherzo (joke in Italian) is generally in the triple meter of the minuet, but tends to be lighter and quicker than the earlier dance movement

Technically, the third movement of Beethoven’s ‘Symphony No. 5’ is a ternary form (song form) consisting of three sections: scherzo, trio and scherzo again. It may not be so audible, because the returning scherzo in the third part is orchestrated in completely other way than the first one.

What to Listen for

Quickly ascending scherzo theme, followed by recurrence of 4-note rhythmic idea from first movement. Contrasting trio featuring low-range strings and imitative (fugal) texture. Long transition into 4th movement, without any break.

The opening statement reinforce the C minor tonality with the broken chord, followed by

dominant to tonic held notes.

Scherzo theme—a rising, rocket theme in

low strings:

French horn:Recurrent rhythmic motive (from opening of first movement):

……………………

This provides contrast in pitch (ascending, wide range, to static

pitch repetition)

Contrast in dynamic compared to the

opening phrases. This reinforces the motivic development from the

1st movement.

Rhythmic and Textural stability (more static movement compare to earlier on)

The horn statement is echoed in the strings and woodwinds

Scherzo theme varied.Sudden dynamic drop

back to pp (same with the beginning)

Change of key to Bb minor

Mysterious build up with dynamic increase, also less timbre/instrumentation.

The motif returns, contrasted with the

opening scherzo theme, loud in dynamic

Musical dialogue between the lower

strings and flutes/oboes

Violin has the motif in variation. Notice

it is keeping the soft dynamics

New 4-bar phrase repeated in violin

Trio theme—in C major, in double

basses, set fugally, played twice:

Closing Section uses the motif again. Unison texture/rhythm and full

instrumentation

Trio Theme entriesViola and Bassoon follow

a 5th higher

Followed by 2nd violin, then 1st violin

Trio theme is broken up and expanded through

sequences:

c

Musical dialogue between the orchestra parts. Each entry is strong with the loud dynamics. The tied note across the bar achieves a rhythmic drive, push and pull the tension forward

Musical dialogue and more textural variation keeps the

interest

The 4 note motif in rhythm (3*quaver, 1*

crotchet)

Trio theme, with repetition and extension

More Trio theme extension, dialogue between the strings.

The addition of woodwind to slowly build up

Woodwind has the thematic material now!

Pizzicato cello and basses leading back to C minor, the semitone descend

increases the mysterious feeling and harmonic

distabilization

Scherzo is back

Theme with varied rhythm, also the pizz in

the cello provided timbre contrast

The various elements working through, deconstructing the motif material as well as the Scherzo theme. The dialogue between the parts continues, using rhythmic, pitch, dynamic and timbre changes to vary the thematic material.

Rhythmic fragments and quiet dynamic provided more ambiguity

as well as anticipation

Where would you put the red and yellow boxes?

Crescendo!Sustained pitch on

Dominant chordRhythmic drive

created by repetitive quavers

Attaca = no stopping

Dynamics?

Symphony No. 54th movement

Tempo indication: allegro Key: C major Time signature: 4 / 4 – 3 /4 -- 4 / 4 – 2 / 2 Structure/form: variant of sonata form Here Beethoven adds trombones, piccolo and

contrabassoon, thus adding to the music's militaristic splendour.

The movement is in sonata form. The exposition positively overflows with themes; there are four in all (two for each key area), each one bright and optimistic.

After the Themes have been introduced

DEVELOPMENT Much modulation and free rhythmic treatment; brings back 4-note motive (3 short and a long) from first movement. Brief recurrence of scherzo.

RECAPITULATION Theme 1—in C major. Theme 2—in C major. Closing theme. Coda—long extension.

Ascending C major scales

Dotted rhythm re-used later

Rhythmic alteration of the dotted quavers

used at the start of the movement

A descending scalar melody with off-the-beat accents leads

to the transition theme.

Transition Theme (Theme 2) A new, forceful theme, ff, begins in the horns.

Key modulates to G major

G major signs- with F#s

Transition Theme is extended by the violins, leading to a quick dialogue between woodwinds, violins, and low strings, and then:

Theme 2 – vigorous melody in G major, with vigorous triplet rhythm accentuating the motive. Violins and clarinets expand to the full orchestra. Closes with development

A light, bouncing melody in the violins

(dominant key, G major) with the short-

short-short-LONG rhythm, incorporating triplets, contrasts of

loud and soft.

a countermelody (colored notes in the example) that becomes important in

the development section.

A frantic, ff, scalar passage in the strings,

and two loud staccato chords, herald the entrance of:

Theme 4, heard first in the woodwinds

Immediate repeat by the full orchestra, f,

leading to repeated chords by the full orchestra and an ascending motive in the strings, ff, and directly into:

A long section concentrating on the recombination of the triplet motives of Theme 3,

Countermelody of Theme 3

Theme 3’s countermelody is now put in the spotlight, first by the lower strings and contrabassoon, then by the powerful new trombones, then by the strings and trombones in imitation, and finally by the full orchestra.

4-note motif from the very beginning being re-

used in ww and brass

A long, gigantic climax leads to a real surprise:

We hear the short-short-short-LONG horn melody of the scherzo, pp, but on strings, clarinets, and oboes. This reminiscence is swept away by a crescendo and the recapitulation.

Call and response.4 note motif used

4 note motif

Quiet dynamics

Increased rhythmic pace

Cresc.

Theme 1 ReturnsThe marchlike

melody is again stated in the full

orchestra, ff. Once again, the staccato notes at the end of

the melody are developed at length

descending scales lead into the Transition Theme.

Transition Theme (Theme 2) Theme 2 is stated in the horns and continued at length by the violins, as in the exposition.

4 note motif

arpeggio

Descending scales

Triplets and offbeat at work

Theme 3 The triplet-dominated Theme 3 is stated essentially the same way as in the exposition, but with a fuller accompaniment and in the tonic key

Triplets elements at work

Closing Theme (Theme 4) Theme 4 is presented but slightly reorchestrated, leading to a long coda.

Theme 4 extended

The coda begins with further development of Theme 3 and its countermelody.

The coda begins with further development of Theme 3 and its countermelody.

Triplets at work

After six staccato chords, the winds develop a variant of Theme 2 in imitation, p.

Theme 2 Build up

This is followed by rapid ascending piccolo scales.

This is using earlier melodic extension of Theme 1

Theme 2

The variant of Theme 2 returns, this time in the strings, with piccolo trills and scales.

Break down of the 4 note motif in

3(offbeat) and 1 (crotchet)

Then, an acceleration in tempo until:

A very fast return to the first part of Theme 4 in the violins. The motive gradually climbs higher, as the full orchestra joins in. There is a crescendo and fragmentation of the theme, leading to:

Theme 4!

Increased dynamics, texture and timbre

Theme 1, full orchestra, ff, but

much faster.

It is quickly developed

and comes to an extremely long ending passage of

incessantly pounded chords,

finally coming to rest on the single note C, played ff

by the full orchestra.

Duh, it’s a Perfect Cadence at the end, of

course.

his is another sonata principle movement, in the key of C major. After a while the brass and percussion cease, leaving the rest of the orchestra playing a sprightly passage of descending quavers before the horns re-enter to play yet another unforgettable theme. The strings carry the movement forwards, and when they arrive at the key of the dominant (G major) they begin a theme in triplets that is derived from the previous descending quaver passage. After a series of vigorous scales, the clarinets introduce another theme derived from the descending quavers, but with much longer note-values and very much quieter. The sound builds to a spirited cadence that signals the repeat of the exposition.

The development section that follows concentrates on the triplet theme, with the bass line becoming increasingly prominent. As the music increases in intensity, this bass part bursts out of the shadows in a stunning passage that brings the trombones briefly to the fore. A fantastic climax is built up, with subtle reminders of the first movement horn theme a constant presence. The music reaches a peak of breathtaking intensity before being stopped dead in its tracks.

Beethoven now pulls off one of the most audacious stunts in the symphonic repertoire, by re-introducing the horn theme from the third movement, but in a form so subdued as to seem almost a ghost of its first magnificent appearance.

This ravishing interlude is brief, and the music now returns to the opening material in the recapitulation. The bassoons and horns introduce the coda, which features some brilliant piccolo figures. Also present are alternating string and wind chords, as in the opening movement, but here with an entirely different effect. The music, now firmly grounded in C major, goes faster and faster as it hurtles towards the finale. It surges forwards, stops and surges again, until the extended cadence that brings this monumental work to its final glorious conclusion.

Fourth movement: Allegro The triumphant and exhilarating finale begins without interruption after the scherzo. It is

written in an unusual variant of sonata form: at the end of the development section, the music halts on a dominantcadence, played fortissimo, and the music continues after a pause with a quiet reprise of the "horn theme" of the scherzo movement. The recapitulation is then introduced by a crescendo coming out of the last bars of the interpolated scherzo section, just as the same music was introduced at the opening of the movement. The interruption of the finale with material from the third "dance" movement was pioneered by Haydn, who had done the same in his Symphony No. 46 in B, from 1772. It is not known whether Beethoven was familiar with this work.

The Fifth Symphony finale includes a very long coda, in which the main themes of the movement are played in temporally compressed form. Towards the end the tempo is increased to presto. The symphony ends with 29 bars of C major chords, played fortissimo. Charles Rosen, in The Classical Style[16] suggests that this ending reflects Beethoven's sense of Classical proportions: the "unbelievably long" pure C major cadence is needed "to ground the extreme tension of [this] immense work."

Part IV – Allegro – brings many new elements which constitute a genuine surprise. In the exuberance and joyfulness of the musical construction a lyrical theme suddenly appears – an oboe that comes closer to a recollection, reminiscence. This segment takes a festive march theme expressing joy and absolute victory.

                                                                                                                                                                                                                 

                                                                                                                                                                                                                                                                                                                                                                                                                                                                                                          Beethoven's 5th Symphony in C minor op. 67 was presented in first audition on December 22nd 1808 in the concert hall of the Vienna Theatre with the composer himself as conductor. On this occasion, musician Johann Friedrich Reinchardt of Cassel asserted that " it is a grand, very elaborate, too long of a symphony in C minor…" , thus once more demonstrating the novelty of Beethoven’s musical language and his contemporaries’ incapacity to understand his genius.

How to write the answers for Analysis Step 3

The question… Step 3- compare the scores of Symphony

No.5 with Haydn’s ‘Surprise’ symphony, which you have studied earlier. Pay attention to the size of the orchestra, number of different instruments used, structure (form), tempos and dynamics used. What do you think the most important difference is? And why?

How to write the answers for Analysis Step 3

Write the answers out with headings followed by short paragraphs, for example…

Instruments usedHaydn used…..In comparison Beethoven used….Structure used

Tempo used

Dynamics used

…. This should give you at least a page of writing. Remember a paragraph needs statement, explanation and example.

How to write the answers for Analysis Step 3

The next part of the question… What do you think the most important difference is? And why? You need to decide what’s the most important issue that separates

Haydn’s work from Beethoven’s. It can be either instruments, structure, tempo or dynamics.

Alternatively, if you think another musical feature such as texture or mood is more important, write about that

Its like extending one of your paragraphs from the first part of the question.

You need to write about 2 paragraphs. You can also use some background information about the composers to explain your answer.

Instructions: Listen to Beethoven’s Symphony No. 5 in C Minor Op. 76. Please listen to all four movements. Use the knowledge and skills you have acquired in this course to write a brief essay on the elements of form, style, and texture as heard in this work.

Your essay should be between 2-4 pages. More advanced students may choose to describe the form, texture, and harmony of the piece in greater depth. Begin with a brief introduction addressing the significance of this work. If you are familiar with the work, you may discuss some of your previous impressions and assumptions.

Then, address the elements of music present in the work. Analyze how these elements come together to form a whole according to the basic principles of sonata form, variation form, and the traditions of the Classical (late eighteenth-century) symphony. How do the musical elements of this piece contribute to expressing the meaning of the text? Be sure to relate your discussion to what you have learned about the symphony orchestra and the development of the Viennese classical style.

Questions for Musical Analysis 1. On the background of the work: The Symphony No. 5 is one of the more noteworthy products of Beethoven’s so-called “Heroic” period that set the standard for the grand symphony tradition of the nineteenth century. Which aspects of this piece suggest heroism or greatness? Beethoven himself is said to have remarked with regard to the opening motive of the symphony: “There Fate knocks at the door!” If this story were true, what might Beethoven have been attempting to tell us about fate—its role in his life, the lives of his contemporaries? Is this interpretation useful only for the first movement, or do you believe it acts as a unifying thread for the symphony?

2. On the first movement: he Saylor Foundation 2 Discuss the treatment of the opening “Fate” motif. How would you describe the melody? What is its function in the movement? What does Beethoven do with the rhythm? What is the effect of the enormous energy unleashed in the development section? Beethoven follows the traditional procedure for recapitulation—the return of the theme at the end of the movement—but what surprise is in store? Why is do you think he includes the oboe solo? What is the mood and feeling of this passage? The enormous coda that concludes the movement is not typical for a Classical symphony. What happens to the theme(s) in the coda? Again, what is the effect of the enormous energy unleashed in this section?

3. On the second movement: The Second Movement Andante introduces a new mood. How does this compare to the four-note motive of the first movement? Beethoven uses a familiar Classical form: theme and variations. How does this differ from theme and variations procedure as used by Mozart in “Ah, vous dira-jai Maman”? Does the mood shift within this movement? How? What effect does this have on the listener?

3. On the second movement: The Second Movement Andante introduces a new mood. How does this compare to the four-note motive of the first movement? Beethoven uses a familiar Classical form: theme and variations. How does this differ from theme and variations procedure as used by Mozart in “Ah, vous dira-jai Maman”? Does the mood shift within this movement? How? What effect does this have on the listener?

4. On the third movement: In Classical symphonies, the third movement of a symphony or quartet was often a minuet and trio. Haydn and Beethoven wrote a faster, more rollicking piece called a scherzo (joke). Is there anything humorous about Beethoven’s scherzo? How would you describe the mood? How does Beethoven exploit contrasts between major and minor? How does Beethoven create the “bridge” between the third and forth movements? Why do you suppose he chose to make this departure from Classical tradition? What is the effect of this unusual transition device?

5. On the fourth movement: The last movement of a symphony had traditionally been a lighthearted finale. Does Beethoven adhere to or depart from this tradition? How so? How does the last movement relate to the previous three, if at all? Which instruments does Beethoven add to the orchestra in this movement? What effects do they have? How does Beethoven convey the idea of heroism and triumph in this movement?