COURSE GUIDEBOOK The Symphonies of Beethoven Pare IIT Lectures 17-19: Symphony No, $—The Exprnive Meal Fully ced Lectures 20 22: Symphony No. @—The Symphony at Program Lectures 23 & 24: Symphony No, 7—The Symphony at Dance 1-800-TEACH-12 1-800-832-2412 Course No. 733 ‘wwteac2.com Sraquaais u2qoy 105824014 ‘usa0yj90g Jo saruoydurds ayy, COURSE GUIDEBOOK teat Courses Teaching that engages the mind The Symphonies of Beethoven Part III Professor Robert Greenberg The San Francisco Conservatory of Music THE TEACHING Company Ripped by JB-24601Lectures Seventeen-Nineteen ‘Symphony No. 5: The Expressive Ideal Fully Formed Se A B. ‘Lectures seveneen through sinten fcus on Symphony No.5 with references wits disastrous 1808 premiere and an in-depth anciyns of the score We se how Beethover's compositional progress filly ‘matures in tbe musical and expesive content of Sympony No.5, which s conceived asa vehicle fora drama in which ight sed hope ‘wimp over the forces of darkness and despa. Beethoven is evealed ‘san exraodinary and unprecedented master ofthe art of developing tie movements from smal, seemingly inconsequential tives. Symphony No.5 also shows him to havea revolutionary concept of ‘yh a narative element int own ight an yw hey fact nthe ‘generation of drama, We lear how Beethoven, now light years eway ‘rom his clasical era beginnings, has embraced romanticism in his ova nique manner Outline Induction ‘The premiers of Beethoven's Symphonies S and 6 were held in Vienna ‘on December 2, 1808. The concen was beset by problems, many of them of Beethoven's doing. Symphony No. $ in C Minor, Op. 67, movement 1, sonat-allegro form: nays with reference to the WordScoreguide™ and musica examples. Exposition 1, The “Siatement of Purpose” is announced, This is an opening ‘orchestal unison intonig a repeated four-ote motive, the called ate” mative 2 Theme 1 isa theme of beta sythmic power and motvie Simplicity: angry music, fll of dark and deep emotions. ‘Theme |i jagged, raw, and undecoraed. It consis entirely ‘of permutations ofthe four-note “at” motive and ie filled ith teeson-geneatng pregnant pauses (erat) 1, The toni key of C minor, a dark, vagic Key of despair, is also very imporaa is reinforcing the sense of tension ‘3. Theme isa conasting, irc and initly gente theme Ie is heralded by a hor eal based on and analogous fo the opening “Suement of Purposs” and is accompanied by “fat” motives. 4. Ancxtrondinary process of mative development i operative from the opening ofthe exposition its contusion, asthe our-note (©1998 The Teaching Company Limited Farmanhip 1@ >. “ate” motive is developed into an enely new sounding series of thematic hess Development in five pats ‘The melodeyric growth of the expostion is crushed by harmonic dlssonance and melodie fragmentation, 1. Inpars 1-3 there ea powerful turn othe minor (F minor) Past 5 brings back two thunderous hor eal inthe violins. 2 Inpart4 th hom call is progresively fragmented. The cae ‘remains ae single, isolated, pathetic "shords of despair” 3 PartS sees a bral ecansition hat brings the dying movement back tie Recaption 1. A suppressed the 1 and an oboe cadenza remember the hori events ofthe development. The “fe” mative is now without the [power it had in the expostion, 2 Incredibly and gloriously, theme 2 andthe subsequent cadence ‘material appear not in C mince as we would expect ina classical era sontllegro movement, btn atiumphnt C major! ‘Coda in six parts: a development ofthe developmen: section 1. Inparts 1-3 the mode (key) returns to minor andthe process of fragmentation that characterized the development section is here thrown nto revers, as new sounding thematic matenals grow fromthe fragmented hor all 2 Inpart a vigorous, dramatic and entirely new sounding march theme appears In reality itis a farher development ofthe fragmented horn call ‘3. Paris Sand 6 sound respectively, ike another etrmston and nether recapitulation. IL Movement 2, quast-double vations form 7 B ‘This movement is designated “andante con moto” —andante with ‘motion This implies that sa dance, not dire! 1s form san extremely unorthodox version of double variations form. Tn fact movement 2 relly two movements none Tt fetus two atenaing themes 1, "Theme A, abroad and beatfl theme in A fat major, is sceesively varied va elaboration Tht movement i about the uplifting power of C major, ax witnessed by 2 Theme B, alo a lyric theme Theme B, inialy in A lt major is ‘eapformed ito rumphant magnificence by the power of C majo. ‘Strit variational process beats down about ala though the (©1998 The Teaching Company Lite Peni D. gE ‘The cova ends the movernent in A ft major, om a surprisingly ‘vigorous and powerful note for sn ostensibly irc movement The hey of C major seems o be acting as a stimulant to energize theme AoTthis movement. TV. Movement 3, schero A B « Part scherzo 1 1, Ws back! ..C minor is back! Phrase ais an ominous, ising passage in € minor, that funcuons analogously to the “Statement ‘of Purpose ofthe fst movemert. 2 Phrase bisa brat, pounding theme "Hunting Hors of Hades") inthe rhythm of the “ate” motive. C mina s back witha vengeance! Part 2, io 1. Pirse cis brian and farcical geek pasage tat blows avay the darkness of C minor. 2 Phrase isan exuberant clephaine passage forthe ow strings, that indulges in abit of «finger exerciae before ascending oan extended version of the fugue-ike passage. Part 3, scherzo2. No longer brutal, the cher is now a quit, plucked, utery defated bit of C minor nastiness. Ivends with a ‘Gecepive cadence. ‘The ansiion i movement sa slow and exraorinar progression fom darkness o light. ‘¥._ Movement 4, sonat-allegro frm = B. . Exposition: Theme 1 appears inthe fll orchestra in C major Developeent nsx pars (Coda in seven parts ‘VL For Beethoven the fit crystallizes his mature compositional innovations: A B c D. gE ‘The practice of allowing the contet to dictate the frm. ‘The use of motive development sa fundamen technique. ‘The concep of movements as steps na dramatic progression sinilar toacis in an opera or a pla) ‘The use of hythm (divorced from melody) a8 anaraive element. ‘The concept of music as self expeston. (©1998 The Teaching Compay LiniedPaweip a‘Wouter Guide™ Beethoven Symphony No. 5 in C Min MOVEMENT I Sonate-Alcgro farm “Allegro con Brio () = 108)" dupe mer (24) Exposition “The music grows from skeletal melodic minimalism to ‘yee eum ‘Theme ‘Stassment of Purpos:” An orchestral unison. J, itwones 2 hammering, skeletal 4-note motive (the sovelled "fate motive”) which i immediatly sequenced downward to create a larger, 8-note unit, transformed. sec off from what follows by a loag frmata Theme 2 “Hom Cal” Based on, and in function analogous to, the ‘opening “Statement of Purpose,” the “Horn Call” heralds odoin ve ea ¢ wae - (Cadence Marcel >. Petts Gheiif tel tferelng or -Parl dete, «cH falling phrases (akin to those of series of ate motives” A © te Matsiag Bags tkee’” hate acececmatnes BE cae Reeeoeetcs ria hier ’ (198 Te Teaching Coogan Lid Pare Op. 67 (1808) @ TS" Raa, hee 7s Mele Ge" Figg’ Ander monet petting Bilge poy cart intense ernsion eee Se, ee, oe oc et iene cy tein Ades F e it : a ? co, A, atime, ily ric pening Thame2_ As the theme progenc, 4 @ permutation of the “Hozn Call” note “fate motives” rise from ti ecg See — ie ace PSeSess5 fae Bn Reape oe nareeve iene Sec ©1998 Te Teaching Company Lied Parmentip sDevelopment thc meolclyicrowth and transformation of the Exposition is enshed by harmonic disonanee and melodic eggmenttion! a Part 1: “Statement of Purpose” Four-note “fate motive” is eee Ceara Puma aco Bde ieimmelcie™™ er perry BG pe ere ae ela loetias je estas ae eee oo Incredibly, che 2-nore Sudden burst of enetgy The pathetic, units dissolve, leaving froma single cuts “Hom. isolated “chords of ‘only single, isolated” Call” would indicate the despair” resume; the “chords of despair” music ienot quite dead thythmic, melodic ee) and as dose to death af =— » o they ean ged ” A (198 Me Teaching Company Limi Paenip Gs Gal Pare2: ‘The texte thickens __The disparate pats suddenly ee a cen 7 eel ou a OS joist bay the larcaty ‘hammering pounding dssonances, Bld inthe chythin of the “ite motive” vera sing bas ‘Nase: "Fate mien various ‘ermuations te now co pee Sai inne (©? Cw gmt Ee DH (13) Part 4: Dissolution, destruction and disintegration A thicd "Horn Call begins The dismemberment ofthe bucisbrualyexeshort” continues: now only the mde 2 eter pers: gether SSS « a Par 5: Rettanstion ‘Apt, a sudden burst of “ite motives” attempts to revive the movement; this ime, they do nor stp bu tenaciously continuc, shattering the deadly revere ofthe “chords of despait.” Like 20's of adrenaline administered directly to the heart ofthe movement, the a (©1998 Te Teaching Company Lined ParteshipRecapitulation ‘Theme L orchesteal unison eal phrase and the following oboe a cadenza . P <= lating Bdge £ Thame2 cme omg of HARA i eal dovnvarl sequences of bree =e “atemotie? tik harmonic $8 4 : te Nee ete inet thsrcpitlacny bnge © ® Nae Te copay lag to bring the key area hack toe Sill rove for oo ba inane dosti wee Sta ae repre or 3 dai and worm Perky alr EM Br ‘Cadence Mater Pare 1: Glorious and wiumphane; ewo falling phrases blare forth in Statement of Purpose: Powerfull intoned by ‘The “fate mosive" theme resumes, but without the power and bluster ‘ofthe Exposition; the music has tndergonea profound trauma in the development, and thats reflected inthis rather melancholy a moe a (1998 Te Tesching Coopay Lio Peet Oboe Cadenzx: A plaintive, slo ‘oboe sings a melancholy song of forthe trauma ‘The business of remembrance pat, the theme returns tits former, terrible glory — momentum grows asthe melodie ine . climbs What! who How2t When?! wHoat ‘Theyre Theme 2arives, not dese in the blade mourning ‘fe mina, bt inthe dlaphanous glow of C Maio! As the theme progrenes, note “fae motives" ri from the low seins, poplin the music forward Part 2:A downward series of “fate motives” bring this cxtraordinary Reeaptulaton to its conclusions che movement ld seem, for this momene at lat, co be filled with hope and iumph (©1998 The Teaching Conpuny Lied PartnershipCoda The Ca isin sly,» con development section, which throws the proc ‘of dslucion, eration and disieyation ofthe 1 Development Pare 1: The C Major tiumph of the Recapleuation is, or now erished sees of furious, elemental {Ec ‘Two forlom, upwards version, the "Ete motive” plaintively for merey buc none i shown nds which hammer away on the hammering continues! “fate motive” rhythms the mode ‘urns back toward minor winde fo ‘Note: These hammesing chords wee fst hh in Par 2 ofthe Development Pare 3: New life from what before led to disintegration! AAthid “Horn. As before, he “Horn Calis frer ede Gall begins bar idle? notes = Bur now tha ote ait wens 4 isoit or Seb of atv in beh 14 poces and Be oes, {Dinsneron sd double diminution of the orga GUST 2 howe) ° Recapitulation #2 (or Coda Pat 62) §, N ‘ mes powerful repented over an version yet! We woul sem tobe back § @ xtnded dominant och bgining of the movement pedal ead ta : 10 {0198 The Teaching Company Lins eerip into revere nourished by the hope provide by "C Majo” in the Racal, Iie ums to he shared musi landscape By Part 2: Two "Horn Calls’ thunder forth in low strings and basioons, under upwards sweeping violins S25 ‘Nate These “Horn Call” which ws the pices ofthe movement opening 5 "are analogous othe 2 “Harn Call" heard in Part 3 of le Development we Pare & A vigorous, marchlike, utterly new sounding theme i acully derived from the truncated “Hoan Call" of measure 406 grove fom whe in he Development hal take ee a ‘The quiets shattered by a ‘Quietly begins, though the hammering cadence built on the ‘music static due a tonic. “fate moive” rhythm, the pedal harmony ‘movement suddenly and abruptly ends! Whit does this » mean? Where is the symphony sing? Whac was the significance of C Major? Stay tuned mozmesn omsorn 1998 The Teaching Company Limited Paes tMovement IN quasi Double Variation: form “Andante con moto = 92) wipe mee (8) Thames “dove” Titeing Isic, dored-shythen filled theme inthe snexpecte key of AB major Allengthy cadential, boring the theme toa senile ‘ondusion windup Abrnjoe ma , 6 @ ‘Theme B transformed! A brilliant and magnificent version ‘ofthe theme in C Major lever we ‘Wow! the GP wens into an PF, the Ab? chord eurns into rman, and we are tuddenly and powerhly ‘momentary beatles headed toward ca Mar F LF a” => n (0196 The Texching Company Limi Paenhip ‘Theme B (Offers slighe contrac with the opening Theme A a : eee, GERI Macey ton 2 cen es sel sp mach, oring Stan a A chord, Whee is hs goin? AY major Moet ? Note: Delicate triplet a compan las @ eo: HUEY As deny asi began, the ‘ trump nd magnificent mood eee Alnapeats a uit and mysterious . i [ssge modeler back toward Ab 3 faer ® i ¢ » f (0199 The Tsching Campa Lined PerenipCadena bene Mach as befor, thythms are replaced by before 3 oe creer leiog Fone bare rexuplet (groups of i delat pls in the roo pes See 2 sccompaniment low ings winking craton a o e a jr Ba Variation 2 (Devlopmenal — sic vation technique beaks down a Besthoven begins to explore, fly vais apes of dhe thames) ‘Theme A / Variation 2 Extended considerably Further embellishment ofthe theme, sow heard Tamataag te Te ea ‘moothly (Clean bac) acending flowing groups of rete Play eeborted Bb Major totes pot menue hea wag ae lave aie fs Ca | Whee Mier accompetiment > ” a Wie r ‘Theme B/ Variation 2 @ ” ‘Ain the Aplin, be Theme BApinas ye ‘mysterious Gbbecomes Brilliant and suddenly as it.” 0 anFrasthe magnifies ame BF imcudes, harmony again Crmjor Major gy eee suddenly and reuld Seale Aigepeentit snl tally representa mood quetand FE 1 chocd Frome tw sc —aworldnef ayeiour ig > 8 triumph and joy page é » ra a mrodisees eo = trckwwnd CMs Aas ar ow eee Cy Ge] Myscios, Solo winds (chrinet, An altogether hearbetlike — Rasoony extant ees pene throbs alone of Theme A (as it aa ” sigh ties we appeal aia a Siven ig inde te skechbooks) in doubled thirds asin baie ewan ody Be » roll ae ‘Theme A / Mini-Variation ‘Theme B (and C Major) reaurn without preliminary, Ab version inthis most magnficene version yet! way, a Sheree. “ (1998 Te Teaching Copa Lind Puen Modulation back toward Ab Major, br no via the mysterious, hesicant phase, but rather, via simple, apreggiated EP chords Quiet, almost elfn passage (Glucked stings and stacato winds); Ferures che fist use of ‘Theme viewlly evaporates ito 4 series of (most) Cleeinel | Soren Avy 2? minor voy (01996 Te Teaching Company Lied Parnes 1sVariation 3. (Recapitlaton) Remedial, Je ga Trenton wimat 4 JAY this heretofore lyric theme restores ae the dotted rhythms of the opening — tt 6 ; : gf co ThemeA — Quiet A surprisingly vigorous and ‘Brief! arpeggios ‘powerfil conclusion for an and volume C Major?2? Continue to stay a 16 (0199 Te Teaching Company Lid Patenip “Piu moso (b= 116)" Early sketchbook Three powerful, ‘Theme A verson of Thame upward sweeping, return bassoon gestures indore accompanied by = absolutely aunty singe Asai a Sffie> 5 =r> (©1996 The Teaching Company Linited ParmerthipMOVEMENT III (Scherzo) ‘Allegro J = 96) tile mses 14) Part I: (Scherzo) isha’... Camino bak... Andi’ oe happy all wit the rcs and Tale hope of Movement I, wih its C Major spo at power A® Major ceandaon) a ‘This introductory pasage clearly recalls the opening of Movement: Two Iie pass, each followed by a dramatic pause; however, where the ovement Staement of Pupost was bit and drama ths psage shosly and ominous ° Prats I: Ascending cminorarpeggio Phrase 2: Aneter fou, ‘ss ike afoul vapor fom the dep murye minor ancar Cj eae Slight longer hon che & fie Mer the plone of x 4 the 2nd movmens we a B now this quis darkness Nine be é ae a Ominous opesing passe resumes Bring “HH of H*agnin shivers our timbers the Phrase: Phrase 2: cxpreive ec ofthis Acening Extended and mre fle of thi STEEN. tea e aaeeneyslice oa Bee Serenapets digi? 8 ‘ $ ote moe ’ é Se £ a (179 Te Tig Cony Ln Patentip ‘Argh t's all back! Blaring "Hunting Horns of Hades" viciously snnounce a dramatic, e minor theme clearly based on the Movement 1 “fate motive” @ fe. a £ £ f Phrase Phrase 2:Low © “Codeutxone 2 Combines aiingconcine ae ag wenion & clement of*€ wopuyavenon Bolte" Hier (ecenlng ofthe sapeggo ss CH deme before paint wl Tepe: SE RMR Pleyel incsncnsh 8 gucnandente —§ vows) sounding " 4 ” melody, which = ‘cmlnoe c ine Bilston : P a t a , (01908 The Teaching Compery Liniasd PartserhipPart 2: (Trio) (How wil the music pond, inthe Tl, othe seemingly overwhelming darkness ofthe Scher? Simpl With amor, dance is enegy and of cose ne shift wo C Maja) hed 4 1 “This Fase, Fugue lke passage is both “The music lesson" The Laila (forts dance-tike rhythmic exuberant low strings get energy and C Major hue) and farcical tied upy after a series of by srartng the fugueldance in the filse stats, they begin a 3- «ellos and basses, che music rakes on a finger exercise which leads comic, dancing clephancype character to and alto obliterate the ominous low Caer strings ofthe Scherzo opening) CMabe eC Msor san pgpicer: i Part 3: (Scherzo) (So. how will he sruting and Maing c minor Seherze eact othe physi rey and comic joy ofthe © Major Te?) we e SB . Phrase: Phase 2 . Ominous, F Thesrings 0 7 emitor A ate EE ascending “plucked ny aregg, ¢ (pinicto) $file fe ng wechasin 3 anderen, © * ped comply the Emote hushed by teuin ales ining N thane. © blutrand power : Sewarua SN ine this? OE eS TEP nine » 20 (01998 The Teaching Company Lined Pateiip ct © a cy 8 ‘Anextended vesion 5 As before The fuguelike ef the figure fs musi sume passage, this time ascends and searing inthe ions © ireomes + nereasngly oo e ‘quiet. ultimately x imeling away co ‘ sothing —m a‘ i: é Gas] t 2 Bx) Phrase 1: Phrase2: 9 * — Transition Rising Low stings 2 F Adow anglexeaodinary arpeggio continue co Dicky, slimy Transition from darkness plya¢vertonof tolight « panne eminee Yettonof the E equated by one writer as the © Genet, c Sle fom arpegeio as blaring H & the underworld light. me Helfit Sloelpthe harman seringe and E theme Eas cleat, melodie winds minor © ideas conga and the one their © harmonic esotion ish denied by the deceptive ‘melody cpap culence approaches (Cibtininntaghepnpiisteieeny 2MOVEMENT IV Sonnc-Allegrs form “Allegro j= 84) dupe mse 6) Exposition ‘The shi wombones, pico and cotr-bsson, iting in wat sine the symphony bean enter vogeber withthe es if the aches atthe ‘onset ofthe movement the physical impact oftheir enrance palpable B “Thame 1 , Part Triumphant mail heme ostng groups offing note perl by exept the swath chp in rc Ecebration har begun —~C Major fasten arama cA a Clea ing ee ceca eit eet Spa ie Cue n ©1998 The Teaching Company Limi Pte Modulating Bridge Grows diectly out of Theme. 1. Pare2 Part 2: Triumphant, martial ‘one continues as winds and bras alernate wich aepeggited lowe strings . wl © t ° es Np Yecanatier : wot tibe eiecoenrs ft eine ae : orarr it $3 : ot » el SEAS tla — esteemed sesad <9 oes CE ae ae Opn cane aa Pare 2: ees ‘Theme 2 Descending portion of characterized the end further escapees singe explored; modulatory cae ane hes rind a Fp Nate: The gradual emergence ofthe “bast gue” from Theme, ra} Pare 4 Incredible passage, do by three alternating elements 1) 2-note motives drawn eae “base figurs,” inthe at winds 2) Rising ote moive fom Theme 2) Emisllihmen in dhe si 2c in the wins 3) Pedal “GT in love stings a 3) Groups of 4 repeated notes in brass Himpani and cimpant| 4) Upward 4-note motive fi ‘This is deamatc'and imposing music! ‘Theme 2in the piccolo fo ued Part 5: Another dramatic pass this one Featuring: 1) "Bass figure, * in brass and a Recapitulation Justin ie, teamphan C Major ens, she Movement ‘quote but amemery, and noc catenin {era} ‘Theme 1 Modulating. Pac Josting, Part 2: Triumphant, Bridge ‘Triumphant, filling, smarial one Grows divctly marl theme groups of Continues ar winds ot of Thame four notes. and brass alternate Pera ai dlch pst) with apeggited low in singe orchesel u (©1998 The Teaching Company Linited Parmerihip 3: Strings continue 5 play the descending portion of Thsme 2: the ‘bass figuse™ begins co rise to the sutace of the :" powerfully intoned in the trombones, horns and trumpets, ‘overpowers che sernants of Theme 2 ios) ‘The music is building Part 6: Instead ofthe expected entrance of soma aH 4 monumental pasape ects Say whae? A quiet, ghostly 9 Imporance about Quiet ofthe “HH of fallow! fcking in from Movement the violins ime! In cannot! Ii a bad leads to .. dream? Time stands sill Bs The? ‘Sadence Thane eae NOTIN ee a Teer sae Eee eee, cmon =1 28 Lectures Twenty-Twenty Two ‘Symphony No. 6: The Symphony as Program. Lectures Twenty through Twenty:¢wo discuss Symphony No. 6 an ‘example of pure expression, representative of Beethoven's great loves ‘ature andthe countryside. We ee how Beethoven elevated program’ ‘music to heights it had noe previously enjoyed, resaging the romani ‘en's love afar with the genre. We examine how Symphony No.6, a4. ‘symphony that depicts story in musical terms ast movements rogress,ias different fom the fh and seventh symphonies as night from de, Outline ‘eathove’s love of nature was well-documented. Like many nineteenth century artists, he fel inspired by nature Instrumental compositions that use extensive extra-musicl devices or ell Iterary story in musical ems are called program compositions or one poems. Beethoven's sith symphony is an example of propram symphony. What is remarkable about Becthove’s Symphony No. 6s ‘hat tis programma, but hata composer of genius chose fo werk (and elevate by his example) a geere of music ot generally favored by the best composers. ‘Symphony No.6 in F Major, Op. 68, movement 1, snat-allegro Form: analysis with references tthe WerdScote Guide" and musical examples ‘A. This movement i about the varied repetition of nature, portrayed by ‘ved musical repeton. and the feelings ineires. BB. The Intoducton begin with a musttetype open fith drone ‘sccompaniment, followed by the entry of Motives I and 2 In Phase 2, Motive 2 (invert) x heed thirtes ines. ©. Themes | isa simple, rustic theme that grows directly out ofthe {nrodution to this movement. Theme 2, connected to theme | by ‘modulating bridge passage, ia rusting serene theme tt sas much texture as itis a tune, 1D, Pans 1-11 ofthe Development are based on varied repetition made intreating through soddes, shocking harmonic sift. Parts 12-16 contin the nly significant melodic development inte movement, ‘sed on the chorale-tke melody from the intoduction (phase) , Inpars 1-6 ofthe Coda tplets increasingly replace more sharply cihth and sinteenh nots asthe movement winds down, Parts 7-8 ve us a preview of sorts, as we meet the village band of movement (©1998 The Teaching Company Lined Farneship 1V. Movement 2 sonats-llegr form ‘A. Theme Iisa sweet, leinurely, long-treathed theme of grea calm and serenity. A tiple fille "ook theme” accompanies theme 1 Theme 2s another geal, lng breathed theme in two par (C.The cadence material isin two pas Part isa be, ich polyphonic ‘exploration ofthe opening of theme 2. part 2 Part ofthe cece brie evocation of theme I. Part I of te cadence will ppesr as a refrain throughout the emuinder ofthe movement. Bind calls—in part 2 ofthe seven-par development we hear Schindler's “praffe-thoatedyellowhammer." Par. 2 of the cod ‘eauzes tree woodwind cadenza, each imitating «diferent bit, Vs Movement 3 is about the idealized Enlightenment vision ofthe “happy peasant” as portrayed through thee dances, each of which i repeated ‘A. Dance | isthe longest ofthe thre. Note the sudden snd striking key ‘change ftom F major toD major (measure 9) hat mirrors the ually sudden change from G major to E major in the development secon of the firt movement Dance 2 features a stlization ofthe village banda the Thee Ravens, ‘favorite watering hole of Beethoven, Dance 3 is forceful, eanhy and square shythmed. Dance 1 returs, presto, and ends wth a deceptive cadence. Tete has ‘ecured no Fajr closed cadence o conclu the movement, whist segues immeditaly to movement 4. any Movement 4 'Stom) is about meteorological mayhem; nature portrayed ‘musical terms and nature as metaphor. This purely programmatic ‘movement ponrays the progress of vicious summer stem. ‘A, Distant rumbles of approaching thunder can be heard inthe low sings, followed by the piter patter of he first raindrops. [BL These re followed by an explosive downpour asthe storm bts, replete with ightning and thunder. G The pusing ofthe storm becomes a metaphor for salvation. This ‘movement segues directly into the fih-movement hymn of thanksgiving ‘Vib Movement 5, rondo form —the “shepherd's yma” of gratitude and ankagiving fer the storm, [AL Theme A.a simple, folk theme (the “shepherd's hymn") grows aut oft and is reminiscent of movement I, heme 1. Theme B isan expanding, rising melody imbued with great momentum and energy. Theme Cis pastoral theme, most probably based in pst ‘ona genuine Croatian folk song C._Tre movement closes wit a Coda neigh pars (©1908 The Teaching Company Limited Permerip a‘WorlSane Guide™ Beethoven Symphony No. 6 in F Ma MOVEMENT I Sonce-Altgro frm “Allegro ma non troppo (= 65) dupe mer 14) “The chef presionscxied by ariving inthe country (moti ‘The varied repetition of nature portayed by varcd misea epetion Exposition a Introduction: Proview of thematic motives “Masecte" (bagpipe) apen- Sth drone of Second, expanded phrase sees tural music prcees the apperance of motes 13nd? explored and sturdy, rustic phrase, which features (wo the introduction of anew, motives of key importance eo the chorale like melodic idea movement (hich isl grew out of an one | mune 2 le, rustic theme grows directly out of the Introduction (motives I and 2) shoe, then sige ihe! winds F Major Stance ‘Nate Ped “Fo F Nate Bied Major harmonic pedal songin Maes accompaniment viola melody): Phase extended via petition 30 (01998 The Teaching Company Limited Parinenhip. “Pastoral Symphony” {tale tothe listener dicover the siantion .. Evry kind of painting loses by lain cried oof ininseramental mic Anyone wo fa hefner of aa ie wil ave no neal of desc isto enable him o imagine for irc wth mses Een wits espn on il ale to recive ial Op. 68 (1808) —Recthoven, Neco ery, 1807 Motive 2 (inverted) heard 13, times in suceesion; changing, very slightly varied dynamics and orchenration repetition — a metaphor ‘sure that each sepetition ie for the tepeiion and slightly different from the lise variety of nature! jee ‘Musical “growth” through Ped » = Sm Modulating Bridge ‘Alternates “2oo-ing” triples in winds ‘and ‘motive 1 sequence in strings & Pil LE ity 01900 Ths Testing Compury Limi Parushlp nPart I: Rusting, serene “themelete” i as much a ‘The melodic ‘extute a8 a nane; polyphonicallyinertwining pars give activity the effect of hush, undergrowth — the harmonious ae cee a ai ; i Development: asc, for she most pat on rai repetition made iterating, through sudden, sing harmonic shits i} Gl Part I: Sequence Part 2: Long, static presen- based on Theme tation of motive? over art 3: Long, static pre- sentation of motive 20 Mj Conds) Pee (2) Mj (28 mu) — fe Se Pere, -- - a) Part 7: Long, static presentation Pare 8: Long, stati presentation of mative 2 over ‘of motive 2 over (Giger pedaTiamnan] Nyon) — jr 8 md a Pee 2 (0198 he Techn Copy Lind Paenip a oy Cadence Maccrial Pare : Brief Part 2: Lengthy 4 ms) pedal on abone which motive 2 sed Part 2: Dilogue between ‘gorous strings and Tyne swindled on “oer” else this portion of catremely sate the bridge pssage disipates all energy and r amtcipater the stasis ‘of the Development 6 6! ccndel re oa Pare 4: Mosive2 Part 5: Movie 2 is imitated Part 6 Sequence the bas from voice e voice until all based on Ehctae 1 at remains i its Final 2 notes, i a Part9: Motive 2 Part 10: Motive 2is imitated Pa moves into the bas from yoice to voice une all based on that remains its ial 2 ones Sequence rn a (01900 The Teaching Company Limited Parnertip. 3Parts 12-14 of the Development contin the ony signe melodic develop ‘he movement Ge Bs Part 12: Choraleike melody from the Part 13: Chorale-tke melody Pare 14: Chor from the Introduction ina like melody fe brief sequence (2x total) the Introduction 1 brief sequence. oe x ora) (Theft ssined us oa ‘minor yin the movement A real tion to the overall Irighenes and serenigyof chs F music) CMe De FM Recapitulation oy Motive 2 is heard 12 times trplec decoration contin steings Introduction abbreviate) Beginning ‘with what had bec inthe Exposition, ‘phrase a his expanded phrate ses ‘motives Vand explored andthe v= introduction ofthe choral ike melody gt ' F Major Pall cp [Not Gene ple decoration inthe ot Nats "Goong pes in violins ends the fnteducion zy indleme home starting st ms 308 sphere i >» Part 1 Rusling, serene “themelete,” Pat 2: Dialogue beeween vigorous ‘ch asin Expention setngs and Iie winds ll based ‘ on motive ee 8 ened pay tea L a ©1996 the Teaching Conpeny Lined Paterip Choraletike melody breaks down; Gy Pare 16 motive 2 takes over the texture and leas 0 violin 1st violins one las ersion of Theme (ll ofthis in Fill” alone playa Major — the tonic key has alteady been Tighe, «comfortably achieved long before the end apeggated ofthis esti Development) descent tthe Recapitalation =, ” @ ‘Themed (abbreviated) Brilliant, celebratory version ofthis rst theme Major Cal ‘Modulating Bridge ‘Alemates c00-ing" ples in winds iotive ¥ sequence in strings Pome sation ? [Nowe Peal "B.”F Major armony a ted song ince a (Cadence Material Pare 1: Brief passage in eilers based on the coo-ing” portion af the Modulating Bridge f Par 2: Lengthy (24 ms) Caner! —— (01998 The Teaching Company Linited ParmsershiCoda e& Pare 1: Opening Part 2: Bric celebratory version of plc of heme ‘heme L quickly quits and secs am D> Major » f => Ga] Gal Par 5: "Coo-ing” tiplets “Coon” ciples slowly descend alone remain, sounding quite over a"“C pedal the effec is ike Imagaificent in this climactic long, gentle exhalation portion of the Coda ae a => oa Part 8: Theme 1 sequence Solo flue intones Theme 1. Se ee, eal Pal “lobe ” geet 6 (01998 The Tesching Company Limited Parmerihip Gay Pare 3: Bridge marci alternates at 4 Bridge maccril “cooing” triplets in winds alternates "cooing" ples ‘with in horns and low strings tow gn (niet) pet version wih of motive: rile version of morive 2 eae tu Mie ° Pan6Two Par 7: Asortof “pew of lend pews cologne deterea Cette dipter tal Bed icecee! ee] 8 ovement Theda in The dint Re eens Hes doing, C sstertsebinicdss Gene bor" etapa eigen vena 7 (ex) oa raed ‘Tialpln eS AsiaPac nd ets do rest ner ae Sens. A tate areata (Ses Eee eree eal > contnuent f , seen tienen, -MOVEMENT HL SoncteAegro form ‘Andante motto messo().= 50)” compound dupe mets (121) “By the Stam® (Aemoon ely evening) Exposition Theme 1 ‘A sweet, leisurely, long-breathed theme ‘Theme moves ‘of great calm and serenity, ito the elaince and bassoon | SS a: tity ts ‘alsin tevin Boje ‘Brook Theme ‘Accompanies Theme 1 this lovely, murmuring “water music™ ‘continues, in ome form or another, through amos the entire movement; scored for 2nd violins, vols, 2 sal cells (cor son) and piszieato calls and bases, PEA = ©1998 The Teaching Company Linsied Patersip q ° D c > N e t 1s violin seme and imped chosing phrase, 11 seeking such bridges all of ‘which leads v2 saisfying ‘ and ovement which tne ich abr still Beatnc’sSmncc scan he ow ao petra expr nor inibegpmrboay . @ © Modulating Bridge wid winds playa ¢ (Perhaps th ea dma, lent Beathowen's musi!) 5 > ac BP: Quice Parte A RDB C5 Caine repo in 6 groupe of sis 5 Ge ee Teele ‘foley changes ky ing’ triplets of Movement Ube! nee » ” [Notewall Thine of demarcation berwwen Theme the Brook Thame the Modulating Bridge sd Theme 2st bee dv de ck of song theme cont haw sh andthe niormiy othe aecompanient thatscoiy understandable keep ini that he union fei moremene sdesasion ot snl. (©1998 The Teaching Company Limited Parmenthip‘Theme2 Part 1: Another gentle, long-breathed theme, is phrase Sweet consiting of denznding sl tcendingspeegio ee concluding cc rail PAS 5) £ ? Se ee violing 5 ae Development @ a Fur 1: Flowing, Par¢2 Solo obocand fate dt shoe Biel Iyie melody filly explores Theme lve the te ie Eager plays the mous “grafehoated yellow sin fing and fue amine” apegis in deci: hoe breed on Theme. nd tino : ie he a ‘Nate: These apps grow Airey out of Theme @ Part 5: Again, brief Part 6: Mos striking and “developmental” part passage of this Development section clarinet and drawn from Cadence alternate motives fom the Brook Theme wile Material, Part 1 violins play motives from Theme I at Mates Aecorate vadalacry Pe (G8 Mike — roe by) ”o (©1998 The Tenching Company Limited Parterihip Cadence Material © Part2; Yet another melodic idea, Part I: Pana & send and Ire: refers che Bridich —Abif 8 marvelous and rch profusion of polyphonic evocation ature exploration of B ofthe opening Themel Theme 2” beings the & Pare Exposition P hismacrial toagente & wil cappearin concasion © Para ard 5 of E {he Development @ Pare3: Brief conduding Pare 4:Solo. Brie, ———Bird- passage drawn dicey clavinet plays cadenna-—_ like il from Cadence ‘ThemeL over like in Material, Pare 1 amar arpeggios clarinet (Uhsme 2, Pare 2) cesta incarnee, lead w Part 7: Retransition Harmony moves back rowards Bb Majoras thematic motives and bike eillsin profusion herald the approach of Theme 1 mie emt GE em emi ALCP (que Rs Paiahigonpeytieaneniny aRecapitul a Beethoven's brook and forest ate now eccing vith musical activity ~ a asc vets ‘vein chore of birds ad bugs! = Muurmaring bok (strings) Giraffe hated yellow hammers” (bassoonfelarinet) = tarzingchirping winds jemtly descaling homs eel tevin, @ 6 1 Mae , == ww Part 2: Gentle and Ise tastoa/—bilite then! Wide Site” ie Nie ly => => Part 1: Two broad eco ike sighs of contentment, based on ‘Theme 1 and Brook Theme (esr l gece a Mae sah ‘re = —S> = (geal Adak? a (©1998 The Teaching Company Limited Parnenhip| Modulating Bridge @) This briefed smoothest of insti sees Thine. I slghaly extended of the =r Cadence Mate Pare L: Bri, exploration ‘Theme2, 1 lyphonic rhe opening of ae at 2: Thice woodwind cade cach imicating a diferent bied a labeled inthe sare a fllows: a ‘Theme 2 Part 1: Gentle descending/ascendling aupeggio-like figures ‘ain @ BMne > ue ined ipa a Saale wate = stukack” pe Concluding phrase is fe! feel ae acon 6 : Concluding passage drawn ly from Cadence Material Pare 1, played by Let violins and pastoral winds; the movement sendy ends a the “vel of night” descends upon the brook, ™ cumpusnintiquanagied adit aSided MOVEMENT I -aveyo* apes “Alappygecogehe f peasants” (Sturdy evening hoe dowa/hlabalo) ra peron — a hap peasant — portrayed Dance No. I site meer 108) Unaccompanied staccato strings establish a light, toe-tapping mood: Rustic and catchy dance tune rendered musette-like by pedal "D" drone/accompanimene ie 6 es Dore) (Mone th den and sking key change fom F Major vo D Major itr he equally sudden change fom major E Major the ovement Developmen) a a Purposely Rustic, Tae-apping Rusti Toeapping Rough ew bellowing pre ings hs oping ane fit crude" leap musee-_pasage now musett- passage eh backio "Tike dance femainsin like absoltely FMsjor tune Major dance Guckes with, resumes excitement and pe * 5 . & 2 a Fijor ee Chor Fer Fler hdl a , = Dance No. I (ciplemeie . Bl : Unascom- Rast Pane panied must ike bet Sacto dance ga segs bs . 5 h 6 F si DMspr Pe moluluwy — £FMor ened ” my mvs ie 46 (©1998 Te Tnching Company Lined Parmentip Dance No.3 duple mse, “tm empo dalegro( A forceful, earthy, square-shythmed dance based on genuinely primitive drone harmonies iin with te Nj ap unexpected increase in 10 would seem 19 depict an ‘extramusical” event — pethaps ‘our peasints realize that» soem, Panicked rush to gee the chaire and tables indoors before the clouds burst Majo ao Rough- hewn, bellowing phrase 32)" Gal 6 ‘The dance tune 2 Fsing counter melody comes to the forefione 6 & ended Pe ‘eda Nate: The rampes emer Forte i sme nthe -yrphony ening rplosive power to his paige ‘Three powerful cxdental chords would seem to portend the end ofthe instead coge Onintitiictiteeennas -MOVEMENT IV. “xegr (= 80)° dupe mes “Sto1m” (ate Soa nih wad ely Sadey meri) (A hoahl drips: mnemonic pac ‘esc on sat) Introduction o B There has occured no F Seat, stacato 2nd violins portray © Major closed eadence tothe fs drops of rain conclude Movement i, PERE instead, the forbulding TN nd ential V {approaching thunder BE rows out ofa deceptive eaudence Note: Heth thunderous rumble the ew sings — ‘nose cliché prcusion it! ge This rand (HO) musics rived fm the Brook Theme o! The Storm Go & Dramatic temolos, ling The constantly Two lickers of motives and dissonant harmonies sing bas line lightning (Ts wll depict che howling wind and coubutes violins ate Filling sheets of ain mightily the allowed ‘growing sonse of immediately by Nate Charing papacy tusyneonied love rings Iva ad shesly poriray th oof the xo ae meese.... ‘meteorological mayhem! ddaps of thunder a (01900 The Tenchieg Compony Lindhed Pertentip | dai of ig bet pean a of hi odious morement Line! Isa oom rca ulin he al rings of he baa sow then sing the pc, wich anoutes ars hone ‘epee. The rane spaces and growin feo immense chromate eur eating or the hos pre coe un it gopa ita way the lowe och epi Th the wombones buat fhe thane a ems bene oe inne, imran ah wind btn afl each al dle ten of ewer — Hector Bele 1st violins ply an upwards Pier patter rumbling movive suggestive of saindrope and love serings apprehensive skyward glances skyward glances suddenly get (Cid you fel that") are heard again, louder Aawholestep head for higher: the cover! tension build! fj & a Jagged, Suddenly single Ominous Another Ominous tnison (danger flicker of quiet quiet descents ously) lightning ag of agains in serings is rumbling lightning the and winds followed stings and rumbling portray a bya following. builds furious thunder thunder downpour lap dapltemine Jawad cf a gf » 2m (rwi/niaiiguenntieaieia esA bold series of. The music momentarily Uh-oh; staccato lighting boes quiets a the salar, snindrops and Oe staccato raindrops of the ominous and eaethshaking movement's opening ‘umblinge are thunderlape reappear inthe Ist violins, now heard (cutt) slernaing with ominous simultaneously rambles inthlow sings a ty gal t fo » es B) Jagd son Slikering dipping chromate ‘Topvoice rics deca hither daca be weg eee tebe then the bn wots aay acai eee al ie ome Proportion Se oe Se a mel Redemption ‘With great caiy and gentleness, a solo oboe sing a lovey arching tune: maleate pale lng Sepp Die Seen me ae Signet fe, GSS Soap Steen’ “WS, unit nee Seale cpr Siding bt ceo inter = = 0 (©1956 The TechingCongany Lined Puesip & Torrential downpour Vicious, descending “The piccolo arpegis inthe sings and'a mane descending enters forthe aT the ow ven depl cere frat in the m ormphany eer eee a ca a “The cataclysm, the .. deluge the end ofthe world.” ‘The tombones enter for the fist time in the mph: this phenome psig Series of powerfully accented tuti chords Unsynchronized rumbling in = the low strings a Ominous The movement ends with an upwards rumbles staccato flute seal, itself an inver An effortless die off. of the downward raindrop mi to the the movment’s opening Sth and final —> (©1990 The Teaching Company Limited Paresh PnMovement Vendo ‘Alegeto). = 60)" compo ple meses (8) “The shepherd's hymn grt and canksving air the som” (Sanday morning) Introduction ‘Theme A: Shepherd's Hymo "Shepher Sweet, Simple follclke theme grows out of the ‘Shephsas Cll” rustic ell attention heard fire in a solo crinet and then ina solo horn grange, PROTOS now s Bte ‘hs in low strings ay dane hrm rea Cape Be F Major _ Nat: simple nd dey, ‘hrc keharmonee Theme B ‘This theme is characterized by an expanding, rising motive; ‘hough ess “unefl” than Theme, his theme imbued ‘with great momentum and energy at I: Dialogue berween chad notin eRe Cher er FMsje a 2 ©1956 The Teaching Company Limited Parmer Quiely chrobbing winds and Ist violins embellishment join the theme in accompaniment 2nd vite Pare 2: In my Ete B ‘The formerly simple, flklike theme hha become as majestic and glorious as any melody in the symphony; the cut ‘ccompanimenc imbues ie with clistinctly eathedal organlike sound ina and ele a we dialogue based on Pare 3: Two brief ascending the final motive of Theme Bs Phrase in the violins [Nate Compare co motive? of Mevement $ (©1958 The Teaching Company Limite Parmertip ie‘Theme A: Shepherd's Hymn cals CMbijor mF Mier Mier oaltny Pe 7» » ee i Introduction ‘Theme A: Shepherd's Hymn "Shephen’s Cll" ongest version yet majestic at ist, the music Crenually alms and assumes te High ‘Omamented orignal sweet eusticiy ees ‘erson ofthe theme inthe CMe Mr ve oc ee : F Mojo Nats Sela, ect ing fhe ‘. ee ha (ettse ta Tasting Compnip a ly Pastoral new theme, most probably based, in pat, on 4 genuine Croatan flksomge salted eae tines Moe rz} ‘Theme B Part Dialogue Ormamented between dialer e version moves nro ellos and based on Iseviolins the nal motive of royal muti vol Theme B cele PM ” ciel eerie eee “Transition: Based on the scala, staceato strings lsd effortlessly back are 3: Two brief ascending phrsis in the violins Sry r—S resPare 1 Part 2: Theme A: Shepherd's Hymn, Inwoduction : Heard initially in Other instruments majestic a fis callos and center in : bssoons ‘ounterpoine with Major modalary PE Maar fone another TP cis a > a Ga Part 4: Introduction "Shepherd's Call” begins Pare 5: Theme A: Shepherd's Hyma emsdoroend te roel, Poem == Part 7: Hymn/Prayer of Thanksgiving Beethoven has saved this most moving and inspired music for the las: his simple, gentle hymn ie statement of great simplicity, dignity and peace; based on Theme A , =r > Nox Stingsare instructed co play tt so (ander wie) 56 (©1008 The Teaching Company Limited Partnership Pos 3: Raiteosey mmering monumental pasage ses longs arpeggios inthe ow strings based on Theme A “embrace” the orches i) Benevolent and majatic God might cmace the fo Part 6 Religious coy An even longer version ofthe shinmcrng, monumental passage ist at n Gd, Pare the movement eae it cli, ar which long and gradual descent gently moves the music ows a mane < ? i Part &: All is peace; distant "Shepherd's Call” in = solo hots, whine ofa brere inthe strings ad ae & » fot F Major ef Saptony Cerio -Lectures Twenty-Three Twenty-Four Symphony No. 7: The Symphony as Dance ‘Scope: Lectures Twenty-three and Twenty-four discuss Beetbovens seventh 8 symphony with references to the historical and personal events suounding its composition. The essence ofthe symphony i cen to be the power of ym, and personal originality is Seen to be an important Outline Gevesis ‘A. Symphony No.7 was begun in lat 181, thee years aftr the premieres ofthe fith and sixth symphonies. twas completed in Api 1812. 1B. The yours 1812 and 1813 were not god ones for Beethoven, Hi hearing tooka precipitous downturn, and the “immoral beloved” affair used him much grit. ‘©. The perc om the premier of the seventh symphony on December 8, 1813 and its subsequee performances 1814 sees a revival of [Beethoven's fame and fortune in View. D._ The sevemh symphony was premiered and subsequently played slongside Beethoven's “Wellington's Victory,” « work celebrating the ‘efeat ofthe French army in Spain Beethoven conducted the premiere ‘ith somewhat ited sucess, Symphony No.7 A Major, Op. 92, movement 1 onsta-allegro frm: alysis with references tthe WordScore Guide" and musical examples [A. Thomovement opens with what x essentially a harmonic industry passage in even pars parading as an exposition 'B. Thome I: lat of A bright, dancing theme breaks forth nthe clsrty stated key ofA major. . Theme 2, par 1 isa bouncing, joyful melody accompanied by sweeping tring sales partis a hunting horn theme The four-part cadence that follows juxtaposes dynamic extremes, bt doesnot eingush its constant forward momentum, EE. Since the advent of theme 1, ad wo the end af he symphony, this ‘si x about ehh, rythm and more rythm! F. The developmentis i six pars. G. A relatively uneventful recapitulation is followed by brillant coda HH. The coda isin four parts, Prt 2s an extraordinary passage in which the bass ine falls to aD and proceeds oropeatadssona two measur uit eleven tines. Wy Movement 2 A. *Chord of Bleak Iolation: begins the movement. 1B, The ovell frm ofthe movements A B A' BY A and coda (C. Theme A appears in the low string. ls shythm will pervade the whole . The lyric Theme B appears like ary of sunshine inthe winds Inthe co theme A returns and gradually disintegrates uni all thats lefts final “Chord of Blek Isolation,” F. Movement 2: Conclusions 1. Movement 2 hal nt be pled ton sows he esemial rhythmic energy i Siete 2 econ are a ‘3. Movement 2 proved to beso popular inte day that was sometimes taken out of conte and iaserted nto other symphonies by Besthoven! Movement3, double scterzo ‘A. After the melancholy ending of movement I! the opening of movement ‘comes ata genuine shock, wih its bella, energized scherz0| ‘theme fll of clocks, ils and exreme dynamic contra. [BL The overall form of ths movement is Scherzo Two Scherzo Tro Il Scherzo It Ah ie aah Man, Movement 4, sonat-allero fom: “The spothoosis ofthe dance” Richard Wagner) [AL Theme 1 isintwo parts, Part! whirling energetic musi filed with the spr of dance. Part sa baring, pounding, descending tune, interspersed with fanfares. B, Theme 2isa delicate, dancing theme that emerges from the modlating bridge. The explosive cadence material i illed with syacopation. (©. The Developmen is infor parts and the Coda sin si prs, dismal, unresolved A minor 6/4 chord Conclusions 1. Rythm isthe primary clement of Symphony No.7. 22 With an overview of all the symphonies up to the seventh itcan now be clearly seen that personal originality ean important attic goal for ‘Beethoven, He wants each major composition 1 make step forward, not repeat whathe di before. Beethoven spent a lot of time working on ‘each symphony. He needed time t be original, to make each symphony ‘completely different fom the ots. (©1998 The Teaching Company Limited Parmer eWoriSeore Guide™: Beethoven Symphony No. 7 in A Majo MOVEMENT I Sonaa-Aliro frm Introduction ‘Poco sastenuto() = 63)" dupe meer (14) ‘An sentially harmonic inteductoty pase parang as an Exposition Pare : A series of explosive, tutti harmonies Part 2: Quit, staccato aecending Sttng sales alternate ‘gabs out attention, a intervening material Aisplays a geadual accumulation of instruments — vierwal gathering of instrumental forces and inane FE hee peeinaen ee rere ear cM eMlara Teac ost teal ge he a Io, rac Gia Gah ti Oe Ce acanin gaannrt salman fe atime eet eee Part 5: The Part 6: Theme 2 monumental sn ae tow coenpial ty ringing be-ike monies in the est, etihcerchoer The “yr theme” returns, in a even more distant key than then first heard; this is sounding less and less ikea Exposition nd moze and more like... ike what? ods te tng FMsie “Epub —___>- a => > 39 inde o (01998 The Teaching Company Limi Parse Op. 92 (1812) Part 4: Theme 22 ‘The frst real thematic melody in the become a monumental series movement i ight and Mozartcan in ‘of massive, granitic rising character, and sounds likely, scales, chrsting upwards second theme from the mos exh wie Pen sounding for al the world Part 3: Modulating Bridge? The quieestaceao tales like a modulating bridge! ra AMaoe medhlaory pe Mie) a soe Part 7: Ahal Something isl that remains ae repeated "Ee" chat happening! The "E* pedal slow down and become uneven (long rcioles downward soa short) a8 they do so; we wait we ate sete of gpcatd "ES": teed — what is Becthoven up eo? brie motives inthe winds Span the eters Mercer D2 tee | reminded ip ded gerard) somewhere new! We tp fp te (@1900-The Teliblg Cty tities Pideerihip aExposition “Viuuce (J. = 104)" compound dupe meter (8) Tacs sie ty “Bane Ae: ng sna 6 he y 8 rhythm — we're wor in hack and relax, knowing finally where we are 414 anymore, and and that the movement has truly begun! Ses j i Pte ee ett FE ie sesBtor purely shychmie DBD ‘Nave: Thi shy wil solo ate comple dominate he i. remainder ofthe movement (ovat wy Modulating Bridge ‘Theme 2 tly pam Pa Aing md ‘on Theme 1 motives o z BY MEE PP ett ite geet poet ee oe = Ge Cadence Maveial Pare I: Myserious passage in which Part 2:E Major having two wisps of melody are tosed back been reatinel, cium: sxddenly and forth wich increasing intensyphant chords punctuate pie pieGe EN eg mires ” = a (©1908 Te Teaching Company Lined Panes & a sing o pally f Blavng and flow A piney 2 bracing ‘ venir of Digs the theme! atid ae £ pa ; : ? bu oe gem Tz) Seics of Parc 2: “Hunting Hom" ype theme builds to a explosive vigorous climax, and then suddenly dissolves! ‘dental harmonies 3 modulacry Be C Major un Py Agtin, E Major Par Stunned, Theme1 Weird! Out 2-ms is eating and yutdenty Abriefand ofthe blue, silence! celebrated with pp to acre yey cleratory a staggering (Now 3 descents in the ‘Y4ych? version upwards E where do lew ines Thee Mapa Sgt Mar 7 ae, a cnneitiiininaiitiaenaae, -Development ‘The pervasive pws of single shyt ar 1: Another Another upwards staggering «wo scale fagiment measures ofeilence ‘wel? 3: Sequential dialogue between descending string arpeggios sand barking harmonies in eur All based on che J.J J thyehmt Well, when in doubt, do what ‘worked before! In the same way the Expo began she] 3] ‘hyshe reduced 4: Delicate, intricate, polyphonic sequence based on motives frm Theme 1 displays a sore of whimsy and lightness not generally associated with Beethoven's muse Sac Medals aa et a ? Recapitulation Winds and horns Upward ‘Theme L E emp "Es sweeping A rollicking and . Which they now violins triumphant recural refuse toler go! ag aa wo BG L : P a (01998 The Teaching Company Limied Panarship Par 2: Areal thematic ison! This pat of dhe Thelines Development sees combination ofthe J.J] thychin —_congeal with the swecping sales of che troduction and the into sete pening motive of Theme Lo create: oF repented a ees YT ‘This long, dancing line is teated almost canonically as more voces enter the texture thickens, unl Mir Part 5: As before, che polyphonic voices congeal into increasingly powerful harmonics which slowly, but inexorably, climb higher and higher pe ape e Suddenly quit Gene chords edest hoe thehamony ca asdineeey der the mood t < Part 6: Massive, overwhelming ‘uti harmonies alternate with fragments of melody, tension and cacitement continue to grow until. uncial ‘wodlaty ———— pe fo Theme Modulatory, almost developmental, version giver new depeh to this, theme nds gt pe ing (Morte) = ceed (ite tegen aModulating Bridge ‘Shorter than in the Exposition, a bvicf but ease passage based on Theme 1 motives Pisin (Cadence Material Pare 1: Mystetious passage in which two wisps of melody are omed back and for with increasing Tavensiy ‘modulory pe ome ‘Theme 2 < Pare 2: The tonie A Major is celebrated wit the eatin ppnetuaced wich {wiumphant chords AMsoe a Pare 1: Bouncing, accompanied by vigorous, downward ‘sweeping sales in aringe Ie viline AMsjoe two 2octave descents in PP joyful theme is t baat mse Coda. (Beyisin Ab Major — a aug tonal dca foes A Major) Pare I: Beginning atdid the Exposition, Development and Recapitulation, che oda begins with « single noe in the Bl tiyehim — “AV in the low sings » Along melodic Sequence ensues, Pare 2: An extraordinary passage! The basline falls co Coieiertaann “ot ewceae nee IM en ts Coen Se i aa ia Hn ai ORES Mei ee ra a i eos ee (©1996 The Teaching Company Limited Pumerstip Setes of explosive ‘adental Tacmonies in uti Pare 2 vigorous climax and then dissolves A Moe => * Pare 3: Theme 1 ina brief and 2g celebratory siege ee eblecly AMjor mc (the "Be exes teie isons eet tae theimpertanee of © Majer in the moveren(B?« aud th opening of Theme Wee ) Hunsing Hoen"-ype theme builds to odlitery Fajr » Gal Pare & aes . Staggering, M hiceupingy A arased (and rca cee eee Mijorscle 3 bupeac onan “A Gia ep Presta o A") 5 & Gf] Part 3: Sevies of Part 4: Theme 1 huge cadence triumphant and chords and joyful concusion; descending note how hogns in strings herald particular drive the beginning, the moves oftheend coward boilinne conclusion a (01998 The Teaching Company Limited Partnership aMOVEMENT II ‘Allegretio (J = 76)" duple mar (214) (@ecthoven's given cempo indicates a match not Fane procession) ‘Chord of Bleak Isolation” The movement begins with an isolation a minor $ chord scored for Al winds and horas the chord docs not resolve (as it should); eather stands a a bleak, sombre, singularity — a problem unresolved, a cry ‘unanswered a = » ‘Theme A J Variation 1 t Theme moves mo the 2nd © Theme moves up imo the Ist violins a hauntingly Beausifal 8 violin dhe endearing secon ountermelody i added in the ie playing now, withthe counter Milas and ele Pedy nthe 2a vilos and gente ocking accompaniment ae Inthe vil and es MOM set pe eee sae canal ba’ be Pen prea po ‘Theme B ‘When ion Thana ite fo tien oof suiee pales patncgaemene er ow eee like shyt ecompaninent (JJ) | ee) but accepted fe aren RS ANAL < eg one ee Hades ara Major 6 (01998 The Teaching Company Limitd Parnertip a t Pidetchie ieee ote ee t : i orden § wil : oe 5° e : : reached the theme bles forth in winds and horn, she couner-¢ 8 figures move inc the low strings BN Lyricand motion moves, flute, Soave hhom duet Major ‘bassoon quiet reverie} of 7 a Se Pah eeeTheme A// Variation 4 FE The pale of darkness is again lowered upon the movement; the theme returns pizzcato 2nd violins; the countcrmelody ‘sheard in the winds, and Ist violins and violas alternate an ansious, staccato, 16th ote figure 2d iain Dept te dans of Dene, dan B the preceding tutti lusineisbsscons Pall winds Par 1: Theme. Gradual and suiking disintegration as Finally all that remains is ‘Theme. breaks into fragments, wish the ame bleak, sombre, ‘ach fragment played by a different unresolved a minor $ chord ‘group of insrumenis ‘hat began the movement A iaae aes ff. oo ae » (©1098 The Teching Company Lined Patmerhip ‘Transitional Pass EN eae od extension of Transitional Passage Brief transitional passage bused on the pening of Aen gouty gue bln fone beet Ahad, saccato countersbjec in Toth noes acompani the tcc scored for tings only ate ‘ind ener rally the ague Suddenly forceful Quiet cadence to © Major cadence bck to Stark, dramatic version of ‘Theme A; a mood not fle isefore inthis movements countersubject of fugue continues in winds suing ad bre r>P ede fz Another Quiet forceful cadence cadence to bacleto CMsjor— aminor a » (©1998 The Teaching Company Limited Parinership nMOVEMENT II Scheron ‘Aliet the wage melancholy ofthe Movement lt onchson, he bi ‘opening ofthis movement comes ax quite a shock F Major Scherzo “Presto ().= 122)" wiple macs OM) Brilliant, energized cheme filled with cucks il and dynamic contrasts: , Setppaamnattereaatet) | F game of Hor Potato” (Chor motive") ses opening Senote “duck motive tore upwards ‘Nowe: The descending step movie in ms 12,14, 1516 a a EMaje Trio “Asai meno presto = 84)" Cates fo) Melody of ei extend by the winds cen a Tow horn scat papa ‘Thematic idea isan extension of the descending step motive ofthe Sehere reairei photic oh Seer tie ie eseasta eater = winks c > n SS sta new standard or vty and bumour exceeding elit prcdcroor sydevigr * — Amon Hoping Woy hig for ser leg: 653 measures ng 57 pags of ve) ‘Two long phrases ensue, “Hor 2 built on the descending Poato” snep motive, passed game 4 from oo) See (tien ey wide ings winds mings toa = >: mF me conclusion Na 7 imerictions ies w oe Mion FMajor 7) e Trio “Asai meno presto” Grambling” horn . provokes the y reheat Min ¢ - ” < Scherzo Ill Presto” Biiliane Hor Potato” Two long phrases and suc, built on energized the descending hoe a sep motive a a “ee tha Note interietons a 6 Soret u (©1990 Tu Teaching Company Lied Parnashp “Hot Potato” ie e (vied) nn } at ho alatalnggeret : Major i oe Mee ees fer} ‘Transition back o Scherzo Royal, powerful ue F based on “grumbling” horn a : grumbling DMsoe a fo ee 7 Hoc Porto” | “Asai meno “Pesto” Presto” MD Briefe ye es ee ae) (01998 The Teaching Company Limited Partnership sMovement IV. SonateAller form ‘allegra con brio) = 72)" duple me (24) “The apie fhe dance Richard Wager Fanfare on the pitch “E" Pare 1: Whiting, energetic muse filled ‘announces the grand dance wich the tremencious physical energy o thar is Movement ee pe maar lower chan the “that [Nate The hammering pd condided the 3 movement; aging A Major trad above ccenting the ic provides a subd bat bc powerful consi ives a Modulating Bridge Part 1: Imitatve sequence buil on the art 2: Accumulaes into ‘opening motive of Theme 1/Part 1 and series of hammering, the descent of Theme V/Part2 ptt chords in dota rhythm ge ee” fa ‘Cadence Material Explosive, syncopation-iled music sweeps us buck eo the disco: madness chat is Theme I! a es atalory 6 (©1996 The Teaching Company Lied Pamenip @ Pare 2: Bling, pounding, descending tune, petsed with Fanfare |. asdo the F backbeat 1 ioe vindoons ing a a ‘Theme2 Delicate, balleticcheme emerges fiom the hammering chords ofthe bre. Nate: the ld syncopations dt xp ths mas om becoming too predicable and woo lighfootd a eine (a isenend ced i illing ising sing tpeeeion < (©1998 The Teching Company Lint Paeankip "Development ae 1: Incredible passage! A veritable testing match! The opening of Pare Vis heard inthe +ioling, followed immediately by the low stings, which imitate — menacingly — the ring 6th of the theme, as ehey ate siying tothe violins, "Oh, yeu?” Recapitulation Fanfate on “E" announces the ‘Theme Pare 1: Abbeviated (no 5 Trouble ensues: the violins and low stings sar fighting over the rsing Gah “Gimme that! “No way!” i’ mine” "Dream on!” Pare 2: Blaing, return ofboth Whig enegei dance pounding Aiesslsed sme Ascending cone Maer eo lio nee Pete aed 2 ale © . we Afi ie a Delite baltic dere violins te violins winds ‘sings > os @ 6, Sissi Fae 8 Ane AMet etme’ AMijor_ ef nace Pe A Mae > PF a 6199.1 Tasting Competent necerip Pare2: Theme the retuen of the theme in Tull ccm to settle mater, a leas temporarily Bridge Pare I: Imitative sequence bile ‘nthe opening motive of ‘Theme I/Pare tan ‘descent of Theme |/Part 2 ao Extended va iling/rising string arpeggios zl Pare 3: Extracediaty, Part 4 lengthy pastage in which Ques, everything begins 0 ie almost ein —therising 6th of version of ‘Theme has infected the Theme ! (in entire orchestal the flues) id fanfares ‘Note: Fanfies and, bypass’ edscansaat syeopation: Nate Suing inition of Wepre gts tee ree fo = nee < Pare 2: Accumulates ito a series of hammering, eat chords in dosted stychas a ‘Cadence Material Explosive, syncopated, modulatory musi sweeps x tothe Coda a (01900 Ths Teaching Company Linshed Pastor .Coda Leng and harmonically comple, his Cada blancs wl the Ineroduction of Movement | - Part: Explosive The descending Lorn 4 series of et modulator pasnge portion au fanfuss based on the aay op Modulating Bridge « motive ets caughe in 7 the bass, which owt, where they emai Fr chromatic 2 measures ” opt hvomatially, a 53 a descends unl ee eae phe finally arcivog, (oe) wl Part 3 Part 4 ‘Fanfare ‘Theme 1/Part 2: ‘Fanfare ‘Theme 1/Pare 2 Exuberant, almost out last, gigantic torrent of Theme. extended! of control, che strings blast before Part 1 motives indsfhorn strings begin an incredible the final rush into the final E ; neta Aleman | aed ° ” 2 ao ! ear ee End of ie et 4 gkcy iti (cee eiititliaas tanith: pam