Vienna is known as the Music Capital of Europe due to its rich musical history and legacy. The document discusses Ludwig van Beethoven, a pivotal figure in classical music, and provides background on his life experiences and struggles with deafness. It then analyzes his iconic 5th Symphony in detail, describing its composition process, structure in four movements employing sonata form, and use of rhythmic motifs and instrumentation to convey dramatic tension and resolution.

2. Music Capital of Europe
Vienna

6. Background Information
Beethoven
 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.

9. 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

10. 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.

11. 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.

12. 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 Beethoven
Heiglnstadt,
October 6th, 1802

14. 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!!

15. 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.

16. 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

17. 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.

18.  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

21. Analysis continued…
 we need to identify and describe in detail on how
elements/compositional devices are used by
composers.

23. 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.

24.  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

25. 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/des
cend/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.

28. 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.

29. 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/mo
derato/allegro/prest
o, and its emotions
and effects the
audience are
expected, and
whether these
expectations are
changed by
changes in tempo
such as use of
accelerando/rallent
ando/ritenuto/a
tempo.

30. 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.

31. 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

32. 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.

33. 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:

42. What is a SYMPHONY?

46. Movements in Symphony?
 Like chapters in books

47. Movement Structues
 Within each movement/chapter, the composer can
choose the type of structure/format he/she uses

48. Sonata Form in Movement

54. 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

55. Timbre + Instrumentation
 Flute
 Oboe
 Clarinet in Bb
 Bassoon
 Horn in Eb
 Trumpet in C
 Timpani
 Violin 1
 Violin 2
 Cello
 Double Bass

56. Baroque V.S. Classical

57. 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

58. Tempo ,
Time Signature/Metre,
Key/Tonality,
 Allegro con brio
 ‘fast with spirit’
 2/4 – simple duple time
 C minor

59. Structure
 Sonata form

60. 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.

61. Melody
 Opening motive used as basis of first theme
(overlapping repetition)
 2nd theme is more lyrical

62. Rhythm
 Great rhythmic energy
 Contrasts in
instrumentation/timbre
 Creative use of melodic
materials
The movement focuses on
one motive, a repeated
note figure that is
unharmonized (everybody
plays the same note) at the
beginning

63. Usage of Rhythmic Motive
 The opening motive is extended into various parts
First Subject / Theme

64. 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.

68. 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)

69. More motif work
Then 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

70. Motif is passed around in
different instruments, and in
various ‘versions/disguises’
Dynamic-wise, crescendo,
building up to sf

71. *sf !
*Also repetition in unison
*Shorter note values
*Notice the pitch raises
*Reinforces the key
signature/tonality of C minor

72. End of 1st Subject
Transition:
Optimistic Horn fanfare
In Eb major (relative
major)
Same rhythm as motif in
1st subject, but much
more hopeful
Loud then suddenly to p
Violin comes
in with a
contrasting,
lyrical theme

73. French horn!
 Modulate (change) into Eb major
 Theme 1 leading into Theme 2

75. The cellos and basses
still play the opening
motif though
Sequence in Violin 1
2nd Subject

77. Happy!!
Closing bars of Exposition
Pitch descending
The highlighted yellow- Bb
chord (which is dominant to the
Eb Major)

78. Still using the Motif :D

79. Ending Section still using the motif!
And then ….(yellow) REPEAT
Horn starts the
Development
Section!
C minor
chord
Paused!

80. 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

81. More motivic work here
Motif in pitch is (same same same, lower)
See the strings and bassoon parts
Motif in rhythm is (quaver *3 , long note) see orange
Half of the 2nd subject (crotchets) see green

82. What’s Happening?

83. How is climax achieved here?

85. Motivic breakdown
Contrary motion
Call and Response
between
Ww/brass v.s. strings
Harmony with ww/brass
(Dominant) v.s. Strings
(Tonic)
repetition

86. More dialogue happening, but shortened
Dynamic softening, creating ambiguity
Unusual harmony, absence of motif, slower rhythmic motion

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

88. Repetition increases
tension
Recapitulation Section
Return of 1st Subject/Theme, Motif in full force
Back in tonic (C
minor)
Thicker texture and
timbre compare to
Exposition

89. Oboe solo creating a
lament/curiosity feel

90. Orchestra drives on regardless

91. How is tension created and held here?
Brass
reinforcement

92. Bassoon plays 2nd
subject (horn
played it in
Exposition)

93. 2nd Subject comes back in C
major (tonic major) (compared to
Eb in the Exposition)

94. Motif play~
1st subject and 2nd subject
materials used
simultaneously

95. Closing theme (appeared in
exposition too) (descending
scalic sequence)

96. Harmony still in C major (see the accidentals)

97. Motivic prominence

98. Timpani!!!
Motif!!!

99. Return to C minor tonic

101. New theme
in CODA!

102. What’s happening with
the Texture?
How’s the 4 note motif
manipulated in this bit?

105. Motif full
return
Imitative instruments with slightly
altered melodic material
Firm C minor chord in the bass

106. Cadence of V-I-V-I-V-I
Blah blah blah blah blah
blah
Intense fillers
With motif appearance
Texture in unison rhythm

107. What the performance look
like

109. Compare the 2
symphonies

110. Compare the two
performances

113. Symphony No. 5
2nd movement
 Tempo indication: andante con moto
 Key: Ab major
 Time signature: 3 / 8
 Structure/form: double variation form
(A, B, A+, B+)

114. The contrast
 Slower and calmer
 Contrasting key
 Theme and variation form, although lacking in clear
sectionalized variations
 More development happening within the ‘variation’
part

115. 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

116. 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

117. 2nd theme uses the motif
from 1st movement, then
again a couple notes
higher in sequence
Varied texture
Horn importance for
bringing the melody for
2nd theme
Sudden pp to ff
With full orchestra in
unison leading into a
new key

118. Development of 2nd theme, plus
ww+brass prominence with string
accomp. In C major! Fanfare!

119. Drop in dynamics from ff to p
Closing of 2nd theme
1st theme return
in variation on
viola and cello
Violin and bass
pizz.
We are back in
Ab

121. Closing of
variation on
1st theme
2nd
them
e

122. Varied accomp. texture,
also elongated endings

123. More variation with
rhythmic, melodic,
dynamic, texture and
timbre elements with 2nd
theme
2nd theme variation in C major!

124. Elongated ending on 2nd theme
variation, bringing it to a close

125. Elongated transitional sections Theme 1
returns in
another
variation

127. Melody transfers to Violin 1
Ww+ brass takes the accomp as well as lower
strings

128. Build up into semiquavers in unison and loud dynamics

129. Lower strings takes over the melodic
materials

130. Eb major scale
repeated octave
higher
Strings with chords softly
Clarinet comes in with
melody (theme 1)

131. Answered by bassoon,
then ww sectional
(without strings!)
Theme 2 re-
enters

132. Theme 2 in C major
Strings with
some
suspecting
melodic
twist (still
using that
dotted
rhythm and
parts of the
themes

133. Contrasting textures between
the instruments

134. Build up with intruments

135. Raising scales
Theme 1
returns in
‘Piu moto’
more
movement,
in bassoon.
Strings
accomp

136. And back to
original
speed

137. Wind with Theme 1
Strings with
fragment of
Theme 1
Unison to
finish the
movement. In
Ab major.

139. Symphony No. 5
3rd 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.

140. 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.

141. 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.

142. 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:

143. 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.

144. Rhythmic and Textural stability (more static movement compare to earlier on)
The horn statement is echoed in the strings and woodwinds

145. Scherzo theme varied.
Sudden dynamic drop back
to pp (same with the
beginning)
Change of key to Bb minor

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

147. The motif returns,
contrasted with the opening
scherzo theme, loud in
dynamic

149. Musical dialogue between
the lower strings and
flutes/oboes
Violin has the motif in
variation. Notice it is
keeping the soft
dynamics

150. New 4-bar phrase
repeated in violin

152. Trio theme—in C major, in
double basses, set
fugally, played twice:
Closing Section uses the
motif again. Unison
texture/rhythm and full
instrumentation

153. Trio Theme entries
Viola and Bassoon follow a
5th higher
Followed by 2nd violin, then
1st violin

154. Trio theme is broken up and
expanded through
sequences:
c

155. 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

156. Musical dialogue and more textural
variation keeps the interest

157. The 4 note motif in
rhythm (3*quaver, 1*
crotchet)

158. Trio theme, with repetition and
extension

159. More Trio theme extension, dialogue
between the strings.
The addition of woodwind to slowly
build up

160. Woodwind has the thematic material now!

161. Pizzicato cello and basses
leading back to C minor, the
semitone descend increases
the mysterious feeling and
harmonic distabilization
Scherzo is
back

162. Theme with varied rhythm,
also the pizz in the cello
provided timbre contrast

163. 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.

166. Rhythmic fragments and quiet dynamic
provided more ambiguity as well as
anticipation

170. Where would you put the red and
yellow boxes?

171. Crescendo!
Sustained pitch on
Dominant chord
Rhythmic drive
created by repetitive
quavers
Attaca = no
stopping

172.  Dynamics?

173. Symphony No. 5
4th 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.

175. 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.

176. Ascending C major
scales
Dotted
rhythm re-
used later

178. Rhythmic alteration of the
dotted quavers used at the
start of the movement

179. 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

180. 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:

181. 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.

182. a countermelody (colored notes in the
example) that becomes important in the
development section.

183. A frantic, ff, scalar
passage in the strings,

184. and two loud
staccato
chords, herald
the entrance
of:
Theme 4, heard first in the
woodwinds

185. Immediate repeat by the full
orchestra, f,

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

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

190. 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.

192. 4-note motif from the very
beginning being re-used in
ww and brass

196. A long, gigantic climax leads to
a real surprise:

197. 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

198. 4 note motif
Quiet dynamics

199. Increased rhythmic pace
Cresc.

200. Theme 1 Returns
The 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

202. descending scales lead into the
Transition Theme.

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

204. 4 note motif
arpeggio

205. Descending scales
Triplets and offbeat at
work

206. 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

207. Triplets elements at work

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

210. Theme 4 extended
The coda begins with
further development of
Theme 3 and its
countermelody.

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

212. Triplets at work

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

214. Theme 2 Build up

215. This is followed by rapid
ascending piccolo scales.
This is using earlier melodic
extension of Theme 1
Theme 2

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

217. Break down of the 4
note motif in
3(offbeat) and 1
(crotchet)
Then, an acceleration in tempo until:

218. 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:

219. Theme 4!

220. Increased dynamics,
texture and timbre
Theme 1, full
orchestra, ff, but much
faster.

221. It is quickly developed

222. and comes to an extremely long
ending passage of incessantly
pounded chords,

223. finally coming to rest on the
single note C, played ff by the
full orchestra.

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

226.  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.

227.  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."

228. 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.

231. 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?

232. How to write the answers for
Analysis Step 3
 Write the answers out with headings followed by short paragraphs, for example…
Instruments used
Haydn 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.

233. 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.

235. 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.

236. 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?

237. 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?

238. 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?

239. 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?

240. 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?

241. 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?