beethoven symphony no1 movement 1,2 analysis

7/27/2019 beethoven symphony no1 movement 1,2 analysis

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Methods of study4

You will be able to take an unmarked copy o the score into theexamination room and will be required to write one essay rom a choiceo two. Realistically, you will have about 35 minutes in which to plan and

write your essay, so it is essential that you take every opportunity to learnhow to plan and write essays. You will have a choice between two dierenttitles and you must consider careully which o these will enable you togive the better answer within the time available.

You will need to learn the techniques o musical analysis, starting probablywith simple piano pieces or, perhaps, utilising any music you and yourellow students are currently learning or a concert or a grade examination.From such pieces you will be able to appreciate phrase structure,

development o motis, overall orm, tonality, modulation, and so on.

You will need to understand the meaning o sonata orm. You may wellbe aware o this through KS3 and/or GCSE studies, though it is ullyexplained below.

Phrase structure, tonality, modulation, use o instruments, awareness otexture and orm can also be integrated with compositional work.

Key musical features4

Phrase structure

In the Classical period (Beethoven composed this symphony towards theend o this period), phrasing was balanced and invariably regular. Exampleso questions and answer or antecedent/consequent phrasing can beound in both movements under consideration, but there are also exampleso irregular-length phrases and these should be borne in mind in anyquestion ocusing upon phrasing. It is certainly the case that Beethoven didnot restrict his writing to strictly regular phrase lengths.

Tonality

This includes consideration o the use o both major and minor tonalities.(There is no modal writing in this symphony.) It also covers the possiblereasons behind the choices.

Modulation

During the Classical period, most modulation was to one o the closelyrelated keys o the original tonic, and you should be amiliar with suchlinks, as shown:

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Learning objectives:

to study the set work:4

Beethoven: Symphony No. 1

in C majorOp. 21, frst and

second movements

to examine the structure o4

sonata orm

to look closely at the use o4

sonata orm in each movement

to look at the slow4

introduction to the frst

movement

to examine in detail the main4

themes and ideas presented in

the exposition sections

to consider how Beethoven4

varies, extends and alters his

ideas within the development

sections

to study how the themes4

return within the

recapitulations and to compare

their return here with their

initial appearance in the

expositions

to examine how Beethoven4

brings the movements to

a conclusion in the coda

sections, considering to whatextent these are based on the

codettas rom the ends o the

expositions

to study Beethovens use o the4

musical elements.

2 Set work Beethoven: Symphony No. 1,frst and second movements

14

Subdominant Tonic Dominant

Relative minor Relative minor Relative minor


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For the rst movement, in C major, this can be set out thus:

The second movement has F major as its tonic key, and thereore theclosely related key chart or this movement is:

However, study o Beethovens music in these two movements willreveal that he did not conne himsel to these keys, and was preparedto modulate outside this scheme to accommodate his musics directionand aspirations.

Use of instruments

The core o the Classical orchestra was the string section, with thewind sections oten having a more subsidiary role. However, althoughthe brass instruments were limited to notes o the harmonic series(see explanation within the analysis on page 22), Beethoven was ableto use these and the woodwind instruments as an independent groupacting as a contrast to the predominant string sound. Despite somelimitations in his resources, Beethoven, like Mozart and Haydn, wasable to write or a wide range o combinations o instrumental timbres,producing a great variety o textures.

Texture

This reers to whether the writing is homophonic or polyphonic:these key musical terms are explained in the previous chapter on pages910, where examples are given o each. The denitions are reproducedhere:

Homophonic and polyphonic derive rom the Greek and mean one4sound and many sounds respectively.

Thus,homophonic music (sometimes reerred to as a harmonic orchordal texture) is where all parts have independent pitches but thesame rhythms.

Polyphonic4 or contrapuntal music is where each line has its ownmelody and rhythm, although there are oten close similarities

between the lines.

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Chapter 2 Set work Beethoven: Symphony No. 1

Things to doIdentiy the key signatures o all4keys in each o these examples.

Note the dierences in key4signature.

In the case o the minor keys,4work out the leading note andboth the harmonic and melodicminor scales.

F major C major G major

D minor A minor E minor

Bb major F major C major

G minor D minor A minor


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AS Unit 1 Infuences on music

Analysing the music4

Ater initial guidance on the process o analysis rom your teacher,you should analyse short pieces o music or sections o longer pieces.Concentrating on a small number o eatures is likely to be benecial atrst. Thus you might, with dierent works, analyse the composers useo one o the ollowing:

melodic shape/phrase structure4melodic/motivic development4

use o texture4

choice o timbre4

choice o and use o tonality, including modulation4

structure.4

You should never justdescribe what the composer is doing: rather, youshould comment on the effect o the modulation, melodic shape, choiceo timbre, and so orth, under discussion. It is a matter oobservationto be able to point out that the word-setting is syllabic; it is the role o

analysis to state, or example, that the use o syllabic setting has beenchosen at this specic stage because o its ability to accentuate theindividual words and make their delivery and impact more direct. It isanalysis which will gain you marks in the examination essay answers.

With this set work, musical quotations are not required just precisereerence to the score. However, any such reerence should be toillustrate or exempliy a point you are making. For example, i discussingBeethovens use o contrasting dynamics, you might reer in movementone to bars 14 and point out the precise and regular changes rom forte(f) topiano (p), then explain what eect this is having.

Background information4Beethoven was born in 1770, in Bonn, in the archbishopric o Cologne.Although he was baptised on 17 December, there is no record o hisactual date o birth, though this is presumed to be the day beore. Hisather was a musician and singer at the Electoral Court o Bonn, withsomething o a weakness or drink. He looked to Ludwig as a possibleprodigy in the same vein as Mozart. His mother was described as agentle, warm-hearted woman. Beethoven reerred to her as his bestriend. He was one o seven children, but only the three boys survived,Ludwig being the eldest.

Beethovens early musical education was rom his ather and he soon

showed tremendous ability as a pianist and violin (later viola) player.His music education was taken over by C. G. Neee (174898), thecourt organist. While only eleven, he was able to deputise or Neeeand was already composing. By 1784, he had been appointed assistantcourt organist. He went to Vienna in 1787, but returned on hearing thenews that his mother was dying. He spent the next ve years in Bonn,strengthening his own position at the court chapel and opera, playingviola in the opera orchestra and generally experiencing a wide range omusic. He was also gaining a reputation as a pianist and soon startedteaching piano. Five years later, he settled in Vienna and studied withHaydn initially. However, the two did not get on: it is worth rememberingthat Haydn would be 60 by this time and an established composer, while

Beethoven was a young man who was anxious to make an impression onsociety. Beethoven also reported that Haydn was rather a lackadaisical

I, during the course o your analysis,you give letters to themes and/or motis, never simply use thesewithin an examination answer.Always give a precise bar or beatreerence. Similarly, never reerto sections within a movementwithout again identiying theirlocation precisely.

Examiners tip


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teacher, and Beethoven wanted to make progress quickly. Beethovenreceived tuition rom other composers during this period, notably romAntonio Salieri (17501825).

Beethovens musical gits gained him entry to the musical circles oVienna and rom there to the salons o the aristocrats. Many musicalparties took place in such places, and it was Beethovens tremendousability as an improviser that impressed. It was with the arrival o works

rom 1798 to 1800, such as the Piano Sonata No. 8 in C minor, usuallyreerred to as thePathtique, the Piano Concerto No. 3 in C minorOp. 37 and the String Quartets Op. 18 that Viennese society recognisedhis worth as a composer.

Ludwig van Beethoven at work at the grand piano

Beethoven had wealthy patrons, vital in those days and, having been

beriended by Prince Lobkowitz, he had an orchestra available to play hisworks.


Did you know?

Antonio Salieri was a contemporaryo Mozart, though he outlived him bymany years. He was appointed bothChamber Composer and Directoro the Italian Opera Company inVienna, having been taught initially

by Florian Gassman (172974),whom he succeeded at the Court oEmperor Joseph II. He was a prolicand very popular composer, ratherdierent rom his portrayal in thelmAmadeus. His contemporariesregarded him as a true successor toGluck (171487) as a composer oopera.


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However, soon ater the perormance o this rst symphony, Beethovennoticed that his hearing was getting steadily worse and, by 1802, knewthat the condition was incurable. His conviction that this inevitablymeant his imminent death led to the document known as the

Heiligenstadt Testament, a passionate and moving piece o writing rom aman in the depths o despair. To understand ully Beethovens character,and the way he eventually ound the ability to carry on composing despitethis afiction, reading o this is strongly recommended.

Basil Deane, writing in The Beethoven Companion, commented thatBeethoven regarded the symphony as a public rather than a private work.He saw Beethoven as wanting to proclaim what he perceived as thecommon human concepts o delight in nature, in peace, in brotherhoodand in reedom, while being aware o deeat and triumph. This could beexpressed only through a new musical language, and this was what hedeveloped throughout his symphonic writing.

The Classical orchestra

Many symphonies o this period were written or what is widely reerred

to as the Classical orchestra, which was characterised by a string sectionwith pairs o wind, brass and percussion instruments.

The Classical orchestra

Italian English

Flauti Flutes (2)

Oboi Oboes (2)

Clarinetti Clarinets (2)

Fagotti Bassoons (2)

Corni Horns (2)

Trombe Trumpets (2)

Timpani Timpani invariably tuned to tonic and dominant

Violino I 1st violins

Violino II 2nd violins

Viola Violas

Violoncello Cellos

Contrabasso Double basses

This is exactly the orchestra or which Beethoven wrote this symphony,with the clarinets, horns and trumpets being in C, meaning that theyare not transposing instruments but sound at the written pitch.


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The Classical symphony

During the time o Haydn and Mozart, the symphony had settled into aour-movement orm, usually:

1 a lively opening movement, oten in sonata orm, sometimes with aslow introduction

2 a contrasting slow movement, which could also be in sonata orm, or

in binary, ternary, da capo aria, variations or rondo orm3 a minuet and trio, or scherzo and trio

4 a ast nale.

Sonata orm

Not to be conused with compositions called sonatas, sonata orm wasdeveloped during the Classical period and was the mainstay o musicalorm or a very long time because o its inbuilt fexibility.

There are three main sections:

exposition4

development4recapitulation.4

To these, composers would sometimes add:

a slow introduction4

a codetta or short rounding-o section to the exposition4

a coda or longer rounding-o section ater the recapitulation.4

Exposition

Here, the main themes or, as they are more usually named, subjects are presented.

In its simplest orm, the pattern is:

rst tune or subject in the tonic key; this is usually a strongly4rhythmic melodic idea, or masculine tune

bridge passage, modulating and leading to4

second tune or subject in the dominant; this is traditionally a gentler,4more cantabile or eminine melody.

Development

Here, the composer uses material rom the exposition and develops orvaries it, the music passing through a range o keys beore returning

towards the tonic or the recapitulation.

Recapitulation

The main themes return, sometimes exactly as in the exposition,sometimes varied:

rst subject in the tonic4

bridge passage, modied and leading to4

second subject, also in the tonic (or tonic major i the original tonic4was minor).

Additional considerations

In the exposition, there may be more than one melodic idea within4the rst or second subject.


As you will have an unmarked

copy o the score with you in theexamination room and the examinerwill have a copy to reer to as youranswer is marked, there is usually noneed to write out musical quotations,although precise reerence isessential, preerably giving bar andbeat numbers.

Examiners tip


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The development section may use only part o the musical material4rom the exposition. It might introduce new ideas.

The recapitulation will oten vary the orchestration o the subjects.4

The coda, where used, might extend ideas rom the music already4used or introduce new material.

It is important to remember that audiences at this time would mostly be

hearing pieces at their rst perormances: composers liked to introducenew pieces at concerts to maintain interest in their work. Thereore,audiences were used to ollowing the dierent sections o the musicpurely by ear. Thus, in a piece in sonata orm, even though many inthe audience would not apply such a term to it, they would expectthe beginning o a movement to establish the tonic key and then theywould be able to hear the introduction o new themes, changes o key,development o material and the nal return o the original key with itsrestatement o the main themes. They would enjoy the contrast in stylebetween the main subjects; they would notice the changes o key anddelight in the ingenuity o a composer in the varying o the original ideas.They would certainly notice should anything unusual occur, such as an

unexpected change o key or the main theme returning in the wrong key(in other words, not the tonic).

There were plans and sketches or the rst symphony as early as 1795,but these were abandoned the ollowing year, and this symphony receivedits rst perormance on 2 April 1800 at the Burgtheater in Vienna. Thistheatre was built in 1741 and became known as die Burg.

In the same concert as the rst symphony, Beethoven premiered hisSeptet Op. 20: this was an instant success and was perormed againduring concerts when his next three symphonies received their rstperormances.

Analysing Beethovens4 Symphony No. 1 in C majorOp. 21

The symphony is in our movements:

1. Adagio molto Allegro con brio (very slow ast and lively)

2. Andante cantabile con moto (at a steady speed but with movementand in a singing style)

3. Menuetto and trio Allegro molto e vivace (very ast and lively)

4. Adagio Allegro molto e vivace (very slowly very ast and lively)

In the ensuing analysis, bar numbers are given to identiy passages,

themes or quotations or example, 4553 reers to bars 45 to 53. Wherea small number ollows a bar number, this reers to the actual beat in thebar, so 77 means the rst beat o bar 77.

Looking at the frst movement Adagio molto Allegro con brio

Slow introduction, Adagio molto: bars 112

Bars 14

Starting with a slow introduction, as here, is one o the options availablewithin sonata orm. Although the symphony is in C major, it does notopen by arming this key, as was the norm. Indeed, it starts with a discord(though not a strong one or modern ears): a dominant seventh the rstchord o a perfect cadence into F major. This is ollowed by an interrupted

Key terms

Dominant seventh: chord built onthe dominant or th note o thekey in C major, the chord o Gwith a minor seventh added togive the chord GBDF.

Perect cadence: sometimes reerredto as a nal cadence, though thisis less satisactory, as a plagalcadence can also be reerredto by the same term. A perectcadence consists o two chordsto end a phrase: these chordsare the dominant (V) and tonic(I), though the dominant otenappears as a dominant seventh(V7). The important eature is thatthe leading note, the seventh noteo the scale, rises to the tonic,

helping to ensure that the musicsounds completed or nished:

Interrupted cadence: as itsname suggests, this particularcadence sounds as i it is movingtowards completion but is then

interrupted, resolving onto adierent chord. Usually, this chordis the submediant (VI), thoughsome composers do increase theeect o a change o direction byresolving onto the fat submediant

(bVI):

ll i ii i ' '

V

I

V7

I

V7

I

' '

V

VI

V7

VI


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cadence into A minor and then by a perect cadence into G major. Thus,within our bars, the music has cadenced into the subdominant, the relativeminor and the dominant o C major but not the tonic key itsel: no wonderthat contemporary audiences were somewhat taken aback.

In these bars, Beethoven is creating a tension, not only by avoiding thehome key, but also by the use o the rising semitone, the te to doh o thescale. This diatonic semitone rom leading-note to tonic is one o the

generating orces o this movement. Additional melodic tension is causedby the act that the interval connecting these pairs o cadential notes is atritone, a diminished th (or augmented ourth). The opening, with itsfp markings, is mysterious and somewhat tentative: a more triumphantsense is achieved in bar 4 with the arrival o the dominant chord.

Fl.1 tritone tritone Fg.1 fp fp cresc. f

Bars 42124

From this dominant chord, the violins have a short linking passage to amore decorated passage which, again, avoids a denite perect cadenceinto C major, although there is aV7dIb cadence (third inversion to rstinversion) in bars 56 and a perect cadence in bars 78, where thetonic is nally heard in root position. However, the melody ending on the

third o the chord makes or a slightly less-than-nal ending.Beethoven seems to be teasing us to expect the arrival o the tonic withvirtually a ull bars dominant in bar 9 beore the G moves up to G# andthe chord resolves onto A minor (chord VI, the submediant). Bars 1113see the rst ull perect cadence, with both melody and bass ending onC (IcV7I) as the next section Allegro con brio begins:

11

.

. , , .,t.

Cor 1,2

f p

p

Fg.1,2f p p Vl.I,IIf p Vl.Ip

Vla., Vc. e B

p p


Key terms

Diatonic: a diatonic scale is onewhere no note is chromaticallyaltered; diatonic music only usesthe notes o the prevailing key.

fp or ortepiano: literally, loud

quiet: a note or chord which isplayed initially loudly and thenimmediately reduces its dynamicto quiet.

Dominant: the chord built on theth note o the scale.

V7d: the dominant seventh chord inits third/nal inversion, i.e. withthe seventh o the chord as thebass. For example, rom bar 5:

Ib: the rst inversion o the tonicchord, i.e. where the third o thechord is the bass. For example,rom bar 6:

' '

Ib

' '

V7d

Did you know?

Tonic sola (or tonic sol a) is asystem or the teaching o sight-singing which gives a name to everydegree o the scale, thus: doh (ordo), re, mi, ah (or a), sol (orsoh), lah, ti. Its most amous useis probably in the song Do-Re-Mirom the Rodgers and Hammersteinmusical The Sound o Music.


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Exposition: bars 13109

Bars 1318

The rst main theme (bars 1317) incorporates the rising semitoneas a key eature. Notice Beethovens predilection or presenting hismoti (bars 13 and 14) and then using a rhythmic diminution o it(bar 15):

Allegro con brio

13

p

Vl.1 motif

semitone

s

diminution

Fl.1 s

s

p

p The use o the semitone (BC) in bars 1316 is reinorced by thechromatic rise in the fute (CC#D), pointing to the motivic use othis interval. Note also that Beethovens theme is based on the noteso the tonic triad (in this case, CEG), a characteristic o many o hissymphonic themes.

Bars 1933

The counterstatement is on the supertonic (bars 1923) rather thanthe dominant and moves rom D minor via a chord o F minor (thesubmediant minor) in second inversion to V7b in bar 26. From here, the

emphasis is rmly on the dominant with requent use osf(sforzandi)and, in bars 3133 a clear perect cadence into C major, using the chordprogression IIVIcV7I:

31 During this passage, the restrictions aced by composers because brassinstruments were limited to the notes o the harmonic series arenoticeable: look careully at the pitches written or horns and trumpetsduring these bars (and elsewhere).

Bars 3352

A secondary idea is introduced at this point as the transition theme,again rmly asserting the tonic and again based on the tonic triad.Noticeable here is Beethovens use o the wind section to complementthe strings, giving them a clear identity and role within thesymphony:

Key terms

Diminution: A rhythmic eature inwhich note values are halved so

that an idea is played at doublespeed.

sf(sorzandi): this derives rom theItalian word meaning orcedand means that the note shouldbe played with an accent.Other composers might use fz,abbreviated rom orzato but withthe same meaning.

Harmonic series: The series onotes that can be played on abrass instrument just by altering

the pressure o the lips on themouthpiece. As the pitch getshigher, so the available notes arecloser together.


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As the woodwind answer the violins opening phrase, futes, clarinets andbassoon play at three dierent octaves, adding their distinctive colours.This is all played over a tonic pedal played by 2nd bassoon, cellos anddouble basses, lasting rom bar 33 to 41.

A short sequential passage ensues, based on the quaver moti rom thistheme and leading to urther conversation between strings and woodwind(bars 4548), accenting tonic and dominant beore nally coming torest on the dominant in bar 52 with an imperect cadence, rather thanactually modulating to the new key.

Bars 5288

The second subject aords the woodwind another key role as stringsprovide the accompaniment to this opening exchange between futeand oboe:

pOb.1

53 Fl.1p

Use of syncopation

sf

sf

Notice the rising ourth a link to the rst subject and the staccatoarpeggio in the accompaniment a reminder o the last ull bar o therst subject. From bar 65, the use o the syncopation rst heard in bars5758 helps to give rhythmic drive to this section.

This theme is then restated with the violins taking the lead, answeredby fute and oboe. The use odiminished seventh chords (Bdim7 in bar65 and G#dim7) and urther sorzandi add to the dramatic nature o thispassage. A cadence into G major (rst inversion) in bars 6869 heraldsthe entry o a urther idea:

34Vl.1Vl.2 8ve basso sf Fl.1,2Cl.1,2Fg.1 sf

sf sf

Key terms

Tonic pedal: a sustained or repeatednote on the tonic, over which the

harmony changes. Here, the pedalnote is played as repeated quavers.

Syncopation: shiting the emphasisonto a note or beat that wouldnormally be weak.

Diminished seventh: a diminishedseventh chord is built up o minorthirds.

Bdim7: the diminished seventh chordbuilt on B:

;

Did you know?

The diminished seventh consistso two interlocking tritones. Saint-Sens uses this interval between thetop two strings o the violin (A to

Eb) in the introduction to his DanseMacabre rather than a perect th(A to E).


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Wind instruments emphasise the strong beats (1, 3 and 1) withcrotchets on the rst playing and then played sustained minims or therestatement. Flutes and oboes double the violins rising quavers, againunderlining the importance o the rising semitone.

An extension o the second subjects opening phrase in bars 73 and 74leads to a perect cadence in G major and a modulating bass melody,also based on the second subject, descending or more than an octaveto the darkness o a low F, while the oboe sings a simple but plaintivemelody above (bars 7988). This use o the oboe, utilising its ability tosustain notes and be heard through the texture, becomes very much acharacteristic o Beethovens writing.

In bars 7488, the music modulates initially in consecutive bars romG major, by fattening the B to produce G minor and then moving tochords o C minor and F7 to eect a modulation to Bb major. From thispoint, the bass rises chromatically through C minor and F major to D7(bar 82) and on to G minor (bar 83) and then, via a chord which can be

seen as an A minor chord with a diminished th (ACEbG) or as Cminor with an added sixth, to A7 (rst inversion) and on to D (bar 85),which in turn leads to E minor (an interrupted cadence) beore a II7bV7I cadence restores G major (8788).

Codetta, bars 88109

At this point, the main theme o the exposition returns to be used as thebasis o the rst part o the codetta in bars 88100. A nal cadentialphrase ushers in the end o the exposition and is ollowed by a delightulwind phrase which orms the link to the repeat and, on the second time,to the development section. Here, the woodwind instruments play inoctaves over a G pedal in the horns.

77 Ob.1p Vc.e B

pp

' '

69Vl.II

Vl.I

Vc. e B. 8ve basso

Vla.

f

f

f


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The cadential phrase:

Notice how Beethoven takes his initial six-beat phrase and shortens it tojust our beats, thus increasing the drive o the music.

The wind gure (bars 106109) is a slowly descending dominant-seventharpeggio with decreasing dynamics in preparation or thep return o therst subject (exposition).

The same phrase is used to link the exposition to the development,though the use o the dominant seventh in C major does not, thistime, lead to that key. Instead, there is a sudden fand the chord moves

unexpectedly to A major (rst inversion) in bar 110 (a tertiary shit) toherald the start o the development section.

Development: bars 110177

Bars 110136

Sections o the development show the ruits o Beethovens studies oncounterpoint with his teacher Albrechstberger. However, it starts witha direct reerence to the rst subject, though this is combined with thesyncopated rhythm rom the second:

This combination o ideas dominates the rst section o thedevelopment, moving through a cycle o fths rom A to D (bars

114ff), to G (bars 118ff) and nally to C minor (bar 122). At this point,it is the turn o the rising gure rom the end o the rst subject tobecome the ocus o various modulations. The staccato crotchet gure ispassed around the orchestra, notably contrasting string and woodwindtimbres. C minor gives way to F minor (bar 126) and to Bb major at bar130. A urther change takes place now as the rising gure is answeredby a balancing alling one, encompassing Eb major (bar 132) and minor(bar 134) beore coming to a hal-close on Bb major, the dominant o thecurrent tonality (bar 136).

Bars 136160

A moti rom the transition or bridge passage, rst heard in bar 45, is

next to be used. Beethoven now uses this scalic moti to emphasiseEb major:

110

f

Vl.I Main motif from 1st subject

p pSyncopated rhythm from 2nd subjectFl.1

Vl.I

Vl.I

p 101

sf

Fl. Vl.I +Fl.sf

sf

ff Key terms

Tertiary shit: a type o modulationin which the music resolves not tothe expected key (as in dominantto tonic), but to a key a third awayrom this tonic. In this case, thechord o G7 is ollowed not by theexpected C major but by A major.

Counterpoint: the layering orinterweaving o individual lines orparts.

Cycle o fths: a sequence omodulations where eachsuccessive key is a th lower thanthe previous one, as in CFBbEbAb etc.


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Ater two linking bars (152153) rom the rst violins based on thisstaccato quaver moti, a contrapuntal section ollows, combining thismoti with the opening idea o the rst subject and a urther extension

o the syncopated idea rom the second subject. This allows a dialoguebetween strings and woodwind in bars 144160, with the openingpassage being typical:

Starting rom this Eb major tonality, the music modulates throughF minor (bar 148), G minor (bar 152), D minor (bar 156) and on toA minor (bar 159), this section coming to a close in bar 160 on E major,the dominant o A minor, approached by an Italian augmented sixth.

Bars 160177

Beethoven marks thisff, as i underlining the act that this is mostunusual, occurring as it does at a point in the movement where the

tonality should be returning to the dominant o C major, prior to therecapitulation. However, A minor and its dominant remain until bar173, the passage being based on a rising scale passage already a eatureo the slow introduction (bar 734 and bar 1213) and a presence withinthe exposition (see bar 3940 and 7576), but here it ollows as anextension o the opening moti o the rst subject:

ff

Stringsin octaves

WW.ff ff

Fg.1

p Ob.1p

Fl.1

p

Ob.1

Fl.1

p

Vl.I,II Vc.e B.

Vl.I

Vc.e B.

Vl.I,II

136pVl.I pVl.II

WW.f

f

Key terms

Augmented sixth: this chord isormed by taking the sixth note othe scale, fattening it, and addinga major third and an augmentedsixth above it (as shown below).There are, in act, three types oaugmented sixth: Italian, Frenchand German. The Italian also addsa ourth, the German a th. So, inC major:

i l ii l

l i l i

Italian

French

German


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Throughout this passage, horns and trumpets sustain a dominantpedal. Only in bars 174177 does Beethoven eect the return to thetonic C major: this is done very simply by having futes, rst oboe andbassoons play a descending dominant-seventh arpeggio in a steadysemibreve pattern, stirring memories o the links at the end o theexposition. This short phrase, markedp, heralds the arrival o therecapitulation.

Recapitulation: bars 178259

Bars 178204

The rst subject makes a triumphant return in C major, the melody nowplayed in octaves by all woodwind and string instruments while the brassand timpani emphasise the tonic. The restatement on the supertonic isorchestrated in the same way. However, rom bar 188, the chromaticallyrising wind chords are substantially extended, nally cadencing onto thedominant (G major) in bar 198. Using a simple, rising chromatic scaleand this introductory moti rom the rst subject:

;

Beethoven ashions a modulating passage which rises through F major(bar 190), G major (bar 192), A minor (bar 193), Bb major (bar 194),C major (bar 195), D minor (bar 196), back to F major (bar 197) andnally on to G major again (bar 198) where, over this dominant pedal,Beethoven undamentally alters the transition/bridge passage.

Instead o the passage at bars 4552, where there are two basic motis,three repeated quavers ollowed by a alling phrase and also crotchetchords, Beethoven extends the use o the alling semiquaver phrase usedsince bar 189 and adds to it repeated quavers in lower strings,sfminims

and crotchet chords, as in these rst two bars o this passage:

Bars 204230

A two-bar phrase is heard twice beore a simple rising and alling staccatoquaver passage (bars 202203) leads to a chromatically decorated G (bars203204) and a descent to C or the return o the second subject in thetonic key.

On the return o the second subject on the last beat o bar 205, thewoodwind play their melodic moti in dialogue, urther underlining theimportant role given to this amily o instruments by Beethoven:

WW

Vl.IVl.II

8ve.b

sf

Vla.Vc.e B

Use such passages within answersocusing on use o timbre.

Examiners tip

Passages such as this (bars1782041) would be very useulin an examination question whichrequires a comparison between theexposition and the recapitulation.

Examiners tip


15/2428


Again, the rising, staccato crotchet gure derived rom the last beats othe rst subject (bars 1617) orms the accompaniment and underlinesthe chord sequence IIIV7I. The syncopated gure is then restatedwith dierent orchestration beore the second subject is restated romthe last beat o bar 213. On this occasion, the rising staccato crotchetsare harmonised: previously this happened only in bars 6465 o theexposition, but now such harmonisation takes place in bars 214, 216and 218.

The recapitulation proceeds in the manner o the expositions bars 6568,leading, as there, to the dramatic passage o repeated string semiquaversand loud chords rom woodwind and brass (compare bars 222225 withbars 6972). Contrary-motion scale passages lead to a perect cadenceinto C major (bars 229230).

Bars 230241

This tonality is immediately contradicted by the introduction o Eb,darkening the key to C minor or a return o the bass melody, rst heardrom bar 77. These passages correspond in length and, relative to theirinitial tonality, to the range o keys visited. Here, the music moves tothe chord o F minor and onto Bb dominant seventh or a modulation toEb major (the fattened mediant). Again, the timbre o the oboe is usedto telling eect, sustaining a high Bb beore descending to repeated Fs.The soter, more mellow tone o the clarinet answers this rom bar 235,doubled an octave lower by the bassoon in its tenor register.

From bar 234, chords o F minor7 in rst inversion (or they could be seenas Ab with an added sixth), Bb and G7 (rst inversion) lead the music backto C minor. But this is a section o great tonal unrest and, immediately,the tonal centre shits again: a chord o F minor with an added sixth(or, again, it could be regarded as a diminished chord: DFAbC inrst inversion) leads to an F# diminished seventh, rising to G7. Thechromatic rise continues as the G rises to G# (a diminished seventh) andon to A minor beore chords o II7b and V7 resolve to C major in bar 241.

Bars 241259

From this point until bar 259 the recapitulation corresponds with theending o the exposition, using the same codetta material.

Coda: bars 259end

Using a descending dominant-seventh triad in the woodwindinstruments (C7) as at the end o the exposition (where, o course, it wasa G7 chord), Beethoven makes use o a urther development o the rstsubject in bars 2614263. The C7 is also heard over a sustained C pedalin the horns and trumpets (bars 261263), with timpani playing twodetached Cs, the whole phrase cadencing onto F major:

Fl.1, Cl.1 8ve basso

Ob.1, Fg.1 8ve basso


16/2429


Notice the echo in the lower strings. Beethoven repeats this passagesequentially, using A7 to modulate to D minor by bar 267. One urther useo this idea eects a return to C major (bar 271). From this point, all butthe lower strings (violas, cellos and double basses) play on the beat, usingthe progression CFGG#dim7 to modulate to A minor (bar 273) beoreenorcing this key change with the progression FGG#dim7Am in bars273275. A repeat o the chord o F in the second hal o bar 275 suggestsa urther repetition, but Beethoven continues this time with a cadential64 into C major (bars 276277), thus regaining the tonic.

From this point, the only chord we hear is this tonic chord, an extendedblaze o C major triumph. Initially, Beethoven uses sustained chords andthe main rst subject theme, altering just one note to transorm the end

o it into a tonic triad (compare bars 1617 with bars 279280). Frombar 277, the highest note o the sustained chord (fute 1) rises at eachoccurrence, rst to E and then to G. From bar 288 to 293, the rising andalling triad o C major is heard in octave crotchets, with some imitationin the horns and trumpets and a C pedal in the timpani. Notice the use otremolo in some o the string parts rom bar 277 as well as the use osfandff, underlining the sense o climax.

The movement ends emphatically with ve crotchet chords o C major.

Things to do4

1 Summarise the orm o this rst movement.2 Make a chart o the dierent themes and motis which Beethoven uses in

this movement; give each a name or reerence letter and note the key oeach appearance.

3 Plot a diagram to show Beethovens use o keys and key relationships: relateeach key to the prevailing tonic.

4 Comment on the ways in which Beethoven has varied his musical ideaswithin the development section.

5 Compare the recapitulation with the exposition, pointing out similaritiesand dierences.

6 Comment critically upon Beethovens use o texture and timbre in this rstmovement. (Note: this exercise can be done or any o the other elementso music as well.)

Looking at the second movement Andante cantabilecon motoThe second movement o this symphony is also in sonata orm. Unusually,Beethoven marks that there be only one fute or this movement.

Exposition: bars 164

Bars 126

The time signature or this movement is 3/8 and the rst subject startswith an anacrusis. As was the case with the rst subject o the opening

p

Vl.I

Vl.II 8ve basso

261 Vla.8veVc., B

Key terms

Cadential 64: the use in a cadenceo chord I in second inversionollowed by chord V:

Tremolo or tremolando: the rapidreiteration o a note (or therapid alternation o two dierent

pitches) designated by one or morelines drawn through the stem othe note aected. The eect ismuch used in orchestral music, orsustained, emphatic passages or tocreate an agitated eect:

Ic

V

Written Played

Key term

Anacrusis: this is where one or moreunstressed notes is heard beorethe main rst beat and rst ullbar; sometimes reerred to as an

upbeat.


17/2430


movement, it is based on the tonic triad, this time the chord o F major,as the movement is in the subdominant, and is played by second violins,unaccompanied:

From the bars that ollow, it is obvious that Beethoven rst envisagedthis as a fugal theme, with a subsequent tonal entry in violas andcellos (bar 6), a alse entry in bassoons and double basses (bar 10)and a ourth ull, real entry in the rst violins, futes and rst oboe(bar 12). Ater an imperect cadence in bars 1819, horns maintaina dominant pedal as the harmony above alternates between F and C,

with regular use osf, and the phrase ends on the dominant in bars2526.

Bars 2653

Although the previous phrase has simply ended on the dominantchord, Beethoven takes this as meaning that the dominant key hasbeen reached, and the second subject ollows without urther ado rombar 26 in the dominant key:

Notice the initial passing modulation to D minor beore thesequential return to C major and the extra colour added by bassoons(rom bar 31) and horns (rom bar 33), closing on its dominant inbar 34. A decorated restatement begins at bar 34, with the theme inthe fute and oboe and decoration in the rst violins. Instead o thedotted rhythm o the second bar o this subject, there is now somechromatic decoration o the A (bar 36) and G (bar 38). A perectcadence in C (bars 4142) leads straight into a new dotted rhythmidea, modulating rom C to A minor and to D minor beore returningto C major:

Oboes and bassoons instigate an apparent restatement o this theme

(bar 46) beore a rising chromatic sequence ensues (bars 4952) andthe music cadences back into C major (the dominant) in bars 5253.

Vl.I

pVc.

pp

Vl.II

Vl.1

Vl.II,Vla.,Vc.

3

Key terms

ugue/ugal: a ugue is a contrapuntalcomposition based on a main theme,or subject. The frst section in a ugueis the exposition. During this, theugue theme enters initially in thetonic key, invariably unaccompanied,

and subsequently usually alternatesbetween dominant and tonic. I thesecond (i.e. dominant) entry is anexact transposition to this key, it isreerred to as a real answer; i theugue subject has been altered atall to keep it in the tonic key, it is atonal answer. This is the case herein the second movement. From thispoint, these initial entries wouldnormally lead to episodes, basedon motis rom the ugue subject,

and middle and fnal entries. Forurther inormation, see pp 4647.A alse entry is an incompletestatement.


18/24

Bars 5364

A urther new theme ensues, notable or the quietly persistent rhythm onthe timpani, utilising the act that the timpani are tuned to C and G tounderpin this nal section, or codetta. The Gs, simultaneously sustainedin the trumpets, orm a long dominant pedal, over which the staccatotriplet semiquaver gure, rst heard in bar 45, is now used extensively. Theaccompanying chords, alternating between strings and wind, set up a two-

beat rhythm against the three-beat phrasing o the melodic line (futes andrst violins).

The nal cadence harks back to the rising ourth that opened this movementand leads either to the repeat o the exposition or on into the development.

Development: bars 64101

A rising triad o C minor suddenly darkens the movements mood. The useo the distinctive tone o the oboes to build the chords adds a melancholyeel to this section. Beethoven contrasts the colour o the dierent woodwindinstruments throughout the next seventeen bars (6681.) At bar 68, theharmony shits to an Ab dominant seventh, and the music cadences into Dbmajor at bar 71. This is the fat supertonic o C major and, as such, is anunusual key to move to.

Beethoven uses the dotted rhythm used earlier as a pedal in the timpani,now ully harmonised as chords and V7b in Db major. This is orchestratedor strings and second bassoon and is pitched quite low, contrasting with therising intervals in fute, rst oboe and rst bassoon. These rising intervalsare derived rom the movements opening ourth, but here are varied andemphasise the dominant seventh and major sixth at rst (bars 7279).Notice also his characteristic use osfp on the rst beat o each bar o theaccompaniment in this section. The return to the chord o C major at bar 81is achieved using an Italian augmented sixth (DbFB) in the previous bar.Timpani now continue the dotted rhythm on C or eight bars, contrastingdynamics betweenp andf, as the music cadences onto chords o F minorand C major respectively:

Again, the dierent colours o the wind instruments are well exploited

31


p 82

f p

f

p f p f

Key terms

sfp (sorzandopiano): the note is

accented beore the dynamic isreduced to quiet.

Vl.IFl.8ve.

54

p 3 3 3 3 3

3 3 3 3 3 3

3Ob.,Cl.,Fg.Vl.IIVla.,Vc. p

Timps.p


19/2432


Again the dierent colours o the wind instruments are well exploited(bars 8185) beore a section o dialogue between strings and wind (bars8589) leads to the climax o this passage and a crescendo culminatingin chromatic movement over a C (dominant) pedal and a dotted crotchetchord o V7d (the dominant seventh in third inversion) in bar 93.

First violins play a one-bar melodic link to another dominant-seventhchord or ull orchestra with a marked contrast o dynamics. From bar

96, the rst violins continue to play short melodic phrases while the rstoboe and rst bassoon add notes rom the dominant-seventh chord:

This passage provides the link to the recapitulation.

Recapitulation: bars 100162Bars 100126

The rst subjects entry overlaps the rst violins descending phrase inbar 100. It is again played by the second violins, but this time the cellosadd a skittish countermelody:

Another dierence rom the original statement in the exposition is theaddition o a sustained C (tonic) pedal in bars 105106 in the bassoon.As in the exposition, the entries duly ollow a tonal dominant answer inviolas (rom bar 106, soon doubled by bassoon) and a tonic entry in oboerom bar 112, later doubled by fute. Again in this section, the colourso the wind instruments are ully exploited as they play the ugue subjectand double it at the third or sixth. The music ends on the dominant C inbar 126.

Bars 126162

The second subject ollows immediately, transposed up a perect ourthcompared with the exposition so that it is now in the tonic key. Fromhere, the recapitulation ollows the exposition until bar 162, save orsome slight changes o instrumentation in the last three bars.

However, instead o ending the phrase with the repeated Fs, Beethoventreats this as a resh statement o the rst subject, though re-scoredand with decoration. This is the coda, overlapping rom the end o therecapitulation, just as the beginning o the recapitulation overlapped thenal phrase o the development.

Keep your answer ocused on thequestion. Do not make subjectivecomments.

Examiners tip

Vl.II

pp cresc. ppVc. cresc.

Key term

Crescendo: to get gradually louder.

95

f Vl.I

p

Ob.1


20/2433

Coda: bars 162end

The rst subject returns, with richer scoring and contrary motion inthe oboes in bar 165. This contibutes to the sense that the movementis reaching its climax. Ater this the oboes take over the melodic linerom the rst violins and rst bassoon. The violins provide a staccatosemiquaver dominant pedal at the octave until repeated chords o Cin bars 169170 lead to a chromatic rise and a repeat o the second

phrase o the rst subject a tone higher, in G major, with a repeated D(dominant) pedal (bars 171174).

A urther chromatic rise at the end o bar 174 leads to an apparent shitto Bb major, only or the modulating sequence to be reversed, usingmerely the sixth bar o the theme, beore cadencing into F major (thetonic) at bar 182:

175

f sf

sf

sf

p

The dotted rhythm returns in the second violins and violas rom thispoint, as, over tonic and dominant harmonies, Beethoven uses the risingquaver gure and an extended version o bar 3 o the rst subject to orma cadence gure:

This phrase is repeated with the addition o a rising scale in the fute(bars 188190). The nal bars are light-hearted as Beethoven introducesan acciaccatura in the strings ollowed by two quavers in the horns,beore the fute also plays the acciaccatura leading to the nal orteperect cadence in F major and three chords o F major, piano.


Fl. pp

Ob.pp

f

p Cor (F)

p pp f p

ppVl.I Vl.IIpp f

p Vc. e B f

p

Ob.1

p p Key term

Acciaccatura: also known as a crushnote: a type o grace note where

the note is literally crushed in andplayed in as little time as possible.It is notated as asmall note with a linethrough its stem.


21/2434


Things to do4

1 Listen to the slow movement o Beethovens String Quartet in C minor Op. 18,No. 4, written in 1800, or an example o a similar theme and an ending on thedominant taken as the cue to introduce the second subject in that key.

2 Summarise the orm o this second movement.

3 Make a chart o the dierent themes and motis that Beethoven uses in thismovement; give each a name or reerence letter and note the key o eachappearance.

4 Plot a diagram to show Beethovens use o keys and key relationships: relateeach key to the prevailing tonic.

5 Comment on the ways in which Beethoven has varied his musical ideas withinthe development section.

6 Compare the recapitulation with the exposition, pointing out similarities anddierences.

7 Comment critically upon Beethovens use o texture and timbre in this secondmovement. (Note: this exercise can be done or any o the other elements o

music as well.)8 Listen to the Linz Symphony by Mozart or an earlier example o using

timpani tuned to C and G in a movement in F major.


22/2435

Chapter 2 Set work: exam-style questions

Examination-style questions

Questions in the examination will relate to Beethovens use o orm,tonality, instrumentation and the other elements o music. One, twoor three elements may be included within the scope o the question.

Alternatively, the question may take the orm o a quotation orstatement that would engage you in a more general discussion, perhaps

relating to genre, context or a more general analysis o the use o themusical elements.

Questions will ocus on a movement, a large section o a movement(such as exposition, development or recapitulation), a comparison otwo sections or, and this is less likely, may involve some comparisonbetween the two prescribed movements. Thereore, there will be noquestions ocusing on very short passages.

You must make sure that you identiy the precise meaning o thequestion and keep it in mind as you plan and then write your essay.Keep your comments succinct and try to nd as many points as you

can, reerring to specic bars, phrases or passages in the symphony tosupport and illustrate your answer.

Exam practice question

For example, the essay question might be one o those suggested aboveor the rst movement, expressed here in the uller way it is likely toappear within the examination paper:

1 Comment critically upon Beethovens use o texture and timbre in the frstmovement o Symphony No. 1 in C major Op. 21.

Key words here are:

Comment critically4 : this doesnt really mean Write all you can thinko about It is not enough merely to point out where the eaturesoccur this is mere description. You need to comment on whatthe use o a particular timbre, combination o timbres or texturecontributes within a context.

texture4 : you need to reer to each o the dierent types o texture youhave ound, but also remember to explain what each term means.

timbres4 : here you will reer to use o orchestral amilies, to theaddition o individual instrumental timbres, to the contrast otimbres, and so on.

In all cases, you must give precise locations.

A possible approach would be:

to identiy the dierent types o texture ound in the rst movement4

to locate one or two examples o each and comment on them in4detail

to summarise the dierent timbres used by Beethoven in the rst4movement

to locate examples o his use o these timbres in dierent4

combinations, commenting on their eect.


23/2436


You should now plan your essay by making a list o what you considerto be the salient points. These might well include the ollowing:

Texture:

homophonic, or chordal/harmonic: parts play dierent pitches but4move in the same rhythm

polyphonic or contrapuntal: parts have dierent melodic lines and4

their rhythms are independent, though oten relatedmelody with accompaniment: a melody with accompanying chords4which are not in the same rhythm as the melody

octaves: where instruments play the same melody but at dierent4octaves

monophonic: these last two textures; in other words, a melody4without accompanying chords or harmonies, and a single-line melody

imitative: where a melodic idea is imitated in another part.4

Timbres:

classical orchestra: two each o futes, oboes, clarinets, bassoons,4

horns, trumpets, timpani, plus string sections violins 1 and 2,violas, cellos and double basses.

Here are some examples o the use o texture:

homophonic texture: bars 14, bars 271276: chordal movement4

polyphonic: bars 124156: melodic ideas interweave, passed between4dierent instruments and inverted; bars 144159: dierent melodicideas combine and overlap

melody with accompaniment: bars 1316: the main theme/moti4accompanied by simple crotchet chords; bars 7788: bass melodyaccompanied by repeated chords

octaves: bars 37454 1: various melodic ideas where the interest ispassed rom strings to woodwind beore both amilies combine;rom bar 106: the cadential gure which leads to the repeat o theexposition or into the development

single-line melody: bars 1104 4111: short phrase rom the rst subjectplayed by the rst violins alone, without accompaniment.

Here are some examples o the use o timbre:

use o ull orchestra: or emphasis during the slow introduction, on4the chords o the dominant (bar 4) and tonic (bars 9 and 11); asthe culmination o a passage o contrasting timbres (bars 4952); to

mark the start o the recapitulation (bars 178181)wind section: eatured rom bar 106, given the important role4o providing the link to repeat the exposition or lead into thedevelopment

woodwind section: passing the rhythmic germ rom the rst4subject rom bassoon to oboe to fute beore all three combinehomophonically (bars 149160); carrying the main melodic ideao the second subject (bars 52460); providing the link romdevelopment to recapitulation in bars 172177; contrast betweeninstruments and/or instrumental pairs as in bars 205210

use o brass instruments: within a larger texture (bars 2932); to4provide pedal points (bars 7274, 160172); to have some limitedmelodic input (horns bars 67 and 8410)


24/24

Chapter 2 Set work: exam-style questions

use o timpani: to underpin the root o the chords o C (bars 1784181) and G (202204); to point cadences (bars 228230)

addition o extra colour: examples might include the oboes piercing4tone and ability to sustain a line over movement elsewhere used,beore it is doubled an octave lower by the bassoon in its tenorregister (bars 7984); the addition o futes at various points in bars100106 to lend their silvery tone to the overall palette and to double

the melodic/cadential motis at the higher octave; the contrast owind and string timbres in bars 162170, with each group having itsown musical gure

contrast o sustained notes in the woodwind and short, scurrying4phrases in the strings, as in bars 1884198.

There is enough inormation here to orm the basis o a really goodresponse to this question, making judicious and precise reerences to thescore. Be sure to use appropriate musical terminology within your answer.

Do:

keep your answer ocused on the question at all times4

make a list o what needs to be covered4

get on with the answer as soon as your planning is complete4

conclude by reerring to the question via a brie summary.4

Do not:

answer the question you wish the examiner had asked4

simply write down everything you know about the topic reerred4to within the question and leave it to the examiner to pick out therelevant acts

repeat the question as an introduction: the examiner has the question4in ront o him or her

give generalised background inormation.4

beethoven symphony no1 movement 1,2 analysis

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