8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

1/16

Symphony No. 5 in C Minor, Op. 67

1

Written between 1804-1807, although likely that he was

still tweaking ideas until the premier performance in 1808.

Premiered in the Theater an der

Wien on 22nd December 1808 at a

benefit concert to raise money for

Beethoven.

Fast, with spirit

Flutes

Oboes

Clarinets in Bb

Bassoons

French horns in Eb

Trumpets in C

Timpani in C & G

Double bass

Motto theme ( A1)

Known as the 'x' rhythm (A2) - contrapuntal

Exposition: 1st

subject

C minor tonality

Dominates the 1st subject

Loud, dramatic unison statements

Imitative texture

Most famous mottotheme there is. Also

sometimes known as

the 'fate' motif.

Not a programmatic piece but Beethoven is said

to have described the opening motive as 'fate

knocking at the door'. May have been based on a

secret programme.

Using horns in Eb and trumpets in C meant that

between them they could play more notes than if

they were both crooked to the same key.

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

2/16

Symphony No. 5 in C Minor, Op. 67

2

17

34

A1

A2

Transition to 2nd subject

T1 - arpeggios

Imperfect cadence:

ending on chord V

Subdominant statement

Tonic pedal on C

Rising sequence

Descending sequencein violins

Sustained chords in the wind

Flute adds brilliance - plays higher than 1st violins

Oboes usually play in the tessitura between

flutes and clarinets - mutual range

Clarinets have more demanding parts than in early

Classical period

Only Handstopped note in the movt

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

3/16

Symphony No. 5 in C Minor, Op. 67

3

49

65

Sweetly

Exposition: 2nd subjectModulation to Eb major has

occurred

Dominant to tonic enforcement in Eb major

B1 - horn call (extended version of A1)

Both players together

B2 - legato crotchets

known as the 'y' rhythm

Lyrical idea in crotchets

Use of sequence

Reminiscent of A1 in the bass line

Just one player

Dominant pedal (Bb)

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

4/16

Symphony No. 5 in C Minor, Op. 67

4

83

98

B3 - quavers, accented

appoggiaturas

Codetta

T1

Tonic pedal (Eb)

Tenor clef - middle

C where the point

crosses a line

Just 1 oboe player

Just 1 flute player

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

5/16

Symphony No. 5 in C Minor, Op. 67

5

113

130

A1

Development

Tenor clef

Modulation to F minor

(subdominant)

A2

Descending arpeggio idea (T1)

Three emphatic perfect cadences to the rhythm of A1

Imitation of clarinet

opening in strings

Descending sequence

Repeats back to the opening

Tonic pedal - new tonality of F minor

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

6/16

Symphony No. 5 in C Minor, Op. 67

6

145

158

Plucked

Bowed

Tremolo - even quavers

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

7/16

Symphony No. 5 in C Minor, Op. 67

7

171

188 B1

Downward arpeggio figure in

staccato crotchets

B1

Antiphonal exchanges

between wind and strings

Shortened version of B1

Highest note clarinet plays in the 1st movt.

Homophonic texture

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

8/16

Symphony No. 5 in C Minor, Op. 67

8

206

228

Always getting quieter

A1

Antiphonal exchanges become shorter and quieter

Abrupt interruption - variation of B1

Extremes of dynamics used

Highest note the oboe plays in the 1st movt.

Get quieter

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

9/16

Symphony No. 5 in C Minor, Op. 67

9

247

262Slowly

Recapitulation: 1st subjectBack in C minor

Countermelody in the bassoons

Cadenza-like oboe solo - replaces

subdominant statement of A1

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

10/16

Symphony No. 5 in C Minor, Op. 67

10

274

288Transition

G major (1st inversion) rather than Bb (1st inversion), allowing the music to stay in the

tonic rather than modulate to the relative major

sudden loud accent

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

11/16

Symphony No. 5 in C Minor, Op. 67

11

303

321

Recapitulation: 2nd subjectC major tonality

B1 now played on the bassoon rather than horns

Change to B2 - sequential development -

in anti honal two-bar hrases

Bassoons moving together in 3rds or octaves

Melody given to bassoons instead of horns due to the new tonality and the nature of two Handstopped

notes creating an undesirable uneven sound.

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

12/16

Symphony No. 5 in C Minor, Op. 67

12

338

353

Highest note the flute plays in the movt.

Timpani trills

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

13/16

Symphony No. 5 in C Minor, Op. 67

13

366

382

C pedal

Diminished 7th chord

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

14/16

Symphony No. 5 in C Minor, Op. 67

14

398

413

CodaC minor tonality

Descending sequence based on bars 2-3 of B1

Descending sequence - reminiscent of

crotchets in B2

129 bars worth of coda - 1/4 of the length of the whole

movement. Takes this long to shift from C major back to C minor.

Angular melody in violins requiring rapid string crossing to play

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

15/16

Symphony No. 5 in C Minor, Op. 67

15

430

452

Flutes, oboes and bassoons moving in

octaves

8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2

16/16

Symphony No. 5 in C Minor, Op. 67

472

489

Dominant pedal - repeated quavers

Restatement of A1 motto theme

A ghostly section based

on imitative A2 idea

Tonic and dominant pedal

Ghostly idea abruptly ended with repeated perfect cadence to