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8/9/2019 Beethoven Symphony No. 5, Allegro Con Brio - Annotated Score-2
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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
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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158
Plucked
Bowed
Tremolo - even quavers
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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262Slowly
Recapitulation: 1st subjectBack in C minor
Countermelody in the bassoons
Cadenza-like oboe solo - replaces
subdominant statement of A1
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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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.
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353
Highest note the flute plays in the movt.
Timpani trills
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382
C pedal
Diminished 7th chord
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Symphony No. 5 in C Minor, Op. 67
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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
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Symphony No. 5 in C Minor, Op. 67
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452
Flutes, oboes and bassoons moving in
octaves
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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