Symphony No. 5 in C minor, Op. 67
Listening Guide
Orchestre Révolutionnaire et Romantique (on period instruments) conducted by John Eliot Gardiner
Composer: Beethoven
Composition: Symphony No. 5 in C minor, Op. 67
Date: 1808
Genre: symphony
Form: Four movements as follows:
I. Allegro con brio – fast, sonata form
II. Andante con moto – slow, theme and variations form
III. Scherzo. Allegro – Scherzo and Trio (ABA)
IV. Allegro – fast, sonata form
Performing Forces: piccolo (fourth movement only), two flutes, two oboes, two clarinets, two bassoons, contrabassoon (fourth movement only), two horns, two trumpets, three trombones (fourth movement only), timpani, and strings (first and second violins, viola, cellos, and double basses)
What we want you to remember about this composition:
- Its fast first movement in sonata form opens with the short-shortshort-long motive (which pervades much of the symphony)...
- The symphony starts in C minor but ends in C major: a triumphant over fate?
Movement I. Allegro con brio
- What we want you to remember about this movement:
- Its fast first movement in sonata form opens with the short-shortshort-long motive (which pervades much of the symphony)...
- Its C minor key modulates for a while to other keys but returns at the end of this movement
- The staccato first theme comprised of sequencing of the short-short-short-long motive (SSSL) greatly contrasts the more lyrical and legato second theme
- The coda at the end of the movement provides dramatic closure.
View a guided analysis of the first movement by Gerard Schwarz
Timing
Performing Forces, Melody, and Texture
Form:
Full orchestra in a mostly homophonic texture and forte dynamic. Melody starts with the SSSL motive introduced and then suspended with a fermata (or hold). After this happens twice, the melody continues with the SSSL motive in rising sequences.
EXPOSITION: First theme
The forte dynamic continues, with emphasis from the timpani. Falling sequences using the SSSL rhythm.
Transition
After the horn call, the strings lead this quieter section. A horn call using the SSSL motive introduces a more lyrical theme—now in a major key.
Second theme
SSSL rhythms passes through the full orchestra that plays at a forte dynamic.
The SSSL rhythm returns in downward sequences.
Closing
Some polyphonic imitation; lots of dialogue between the low and high instruments and the strings and winds.
Rapid sequences and changing of keys, fragmentation and alternation of the original motive.
DEVELOPMENT
Now started by the oboes and bassoons.
Now in C minor, not E flat major, which provides a more ominous tone.
Second theme
After a sudden piano articulation of the SSSL motive, suddenly ends in a loud and bombastic manner: Fate threatens.
Re-emphasizes C minor.
Coda
Movement II. Andante con moto
What we want you to remember about this movement:
- It is a slow theme and variations movement
- Its major key provides contrast from the minor key of the first movement
Watch a guided analysis of the second movement by conductor Gerard Schwarz
Timing
Performing Forces, Melody, and Texture
Form:
Mostly homophonic. Consists of two themes, the first more lyrical; the second more march-like.
Theme: a and b
More legato and softer at the beginning, although growing loud for the final statement of b in the brass before decrescendoing to piano again. Violas subdivide the beat with fast running notes, while the other instruments play the theme.
Variation 1: a and b
Starts with a softer dynamic and more legato articulations for the "a" phrase and staccato and louder march-like texture when "b" enters, after which the music decrescendos into the next variation. Even more rapid subdivision of the beat in the lower strings at the beginning of "a." Then the "b" phrase returns at the very end of the section.
Variation 2: a and b
Lighter in texture and more staccato, starting piano and crescendoing to forte for the final variation. The "a" phrase assumes a jaunty rhythm and then falls apart.
Variation 3: a
The full orchestra plays forte and then sections of the orchestra trade motives at a quieter dynamic. The violins play the first phrase of the melody and then the winds respond with its answer.
Variation 4: A
Full orchestra plays, soft at first, and then crescendoing, decrescen-doing, and crescendoing a final time to the end of the movement. Motives are passed through the orchestra and re-emphasized at the very end of the movement.
Coda
Movement III. Schezo. Allegro.
What we want you to remember about this movement:
- It is a scherzo movement that has a scherzo (A) trio (B) scherzo (A) form
- The short-short-short-long motive returns in the scherzo sections
- The scherzo section is mostly homophonic, and the trio section is mostly imitative polyphony
- It flows directly into the final movement without a break
View a guided analysis of the third and four movements by conductor Gerard Schwarz
Timing
Performing Forces, Melody, and Texture
Form:
Strings are playing pizzicato (plucking) and the whole ensemble playing at a piano dynamic.Fate motive but in the oboes and strings.
B
Very soft dynamic to begin with and then slowly crescendos to the forte opening of the fourth movement. Sequenced motive gradually ascends in register.
Transition to the fourth movement
Movement IV. Allegro
What we want you to remember about this movement:
- It is a fast sonata form movement in C major: the triumph over Fate?
- The SSSL motive via the scherzo "b" theme returns one final time at the end of the development
- The trombones for their first appearance in a symphony to date
- It has a very long coda
Timing
Performing Forces, Melody, and Texture
Form:
Forte and played by the full orchestra (including trombones, contra-bassoon and piccolo). Triumph triadic theme in C major.
EXPOSITION: First theme
Full orchestra, led by the brass and then continued by the strings. The opening motive of the first theme sequenced as the music modulates to the away key.
Transition
Full orchestra and slightly softer. Triumphant, if more lyrical, using triplet rhythms in the melody and in G Major.
Second theme
Motives passed through all sections of the orchestra. Motives from second theme appear, then motives from the first theme.
DEVELOPMENT
Piano dynamic with the theme in the winds and the strings accompanying. Using the fate motive
Return of scherzo theme
Starts softly with the woodwinds and then played forte by the whole orchestra. Does not modulate.
Closing theme
Notice the dramatic silences, the alternation of of legato and staccato articulations, and the sudden increase in tempo near the coda's conclusion: full orchestra.Lengthy coda starting with motive from second theme, then proceeding through with a lot of repeated cadences emphasizing C major and repetition of other motives until the final repeated cadences.
CODA