beethoven symphony no.5

date

1808

overall form

standard 3 mvt form however now the third (c minor) leads into the 4th (triumphant c major march) and also the 3rd mvt returns later

4th mvt/finale

this is the climax of the work - unlike the earlier final mvts in the classical era which were a light hearted short mvt. he resolves the troubled c minor of the 1st and 3rd mvts into the blaze of c major. the finale comes straight from the dominant pedal at the end of the 3rd mvt scherzo and begins with a triumphant march like theme. a presto coda sweeps a way any doubt and hammers home perfect cadences in c major with force. this mvt is in sonata form but at the recapitulation point, there is a quite reprise of the theme of the 3rd mvt and then a crecendo into the recap, like the one that introduced the opening of the mvt.

development of orchestra

compared to the eroica, he reinforces the bass of the orchestra with three trombones and a contrabassoon. this allows him to increase the weight of the finale, where all these instruments + the piccolo make their debut.

harmony/tonality

the piece has a c minor beginning, the c major finishing, trajectory

drama/programme

the original tragedy to triumph symphony. from fateful c minor to blazing c major. no narrative programme is assigned but a clear story is told anyway, especially with the march in the final mvt coming straight from the minor of mvt 3.

melody/theme

famous 4 note opening of the symphony is uesd as a motive both rhythmocally and for pitch throughout the rest of the mvt. intensive use of motifs is found in lots of haydns works. later composers such as brahms were also interested in these

rhythm

continuous re-appearence of 4 note opening rhythm. the relentless rhthmic drive of this piece is an important feature