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CambridgeInternationalExaminations

IGCSEMusic(Syllabus0410)Component1:PreparedListening

TeachersGuidetoPrescribedWorks,2012

ThefollowingnotesmayhelpteacherstoensurethattheirpupilsapproachthestudyoftheirPrescribedWorksina
waythatwillallowthemtoanswertheexaminationquestionsinaspreciseandfocusedamanneraspossible.Itmust
bestressedthattheinformationgivenbelowisnotintendedtogiveafullycomprehensivestatementofcontent,but
toindicatesomegeneralprinciplesthatshouldbefollowedinteachingthispartoftheSyllabus.

ThePrescribedWorksfor2012are:
EITHER
Tchaikovsky,RomeoandJuliet(FantasyOverture)
OR
Beethoven,SymphonyNo.6inF,opus68[Pastoral](movements 3, 4 and 5)

GeneralObservations
ItismostimportantthatcandidatesshouldbeabletoheartheirPrescribedWorksasoftenaspossible,sothatthey
becomethoroughlyfamiliarwiththemusicfirstandforemostthroughlistening.Recordingsshouldthereforealways
beavailabletotheminschool.Wheneverpossible,however,itwouldbehighlydesirablethattheyshouldhavetheir
owncopyofarecording,sothattheycanlistenathomeaswellasinschool.Withthisinmind,everyefforthasbeen
madetoensurethatallthePrescribedWorksareavailableongoodquality,butinexpensiveCDrecordings(e.g.those
issuedontheNaxoslabel).Theimportanceofexperiencingthesoundofthemusicatfirsthandcannotbestressed
toomuch.

Intheexamination,candidatesshouldexpecttobetestedonarangeofknowledgeandunderstandingoftheir
chosenwork.Althoughtheprecisenatureofquestionswilldependupontheindividualcharacteristicsofthework
concerned,candidatesshouldbepreparedtoanswerquestionsunderthefollowingmainheadings:

Structureandterminology;
Themesandtheirtransformations;
Keycentresandmodulations;
Identificationofchords;
Instruments;
Transposition;
Scoremarkings,performancedirections,instrumentaleffects;
Generalbackgroundinformationaboutthecomposerandaboutthegenreofeachwork.

Thefollowingnotesoneachcomposerandworkincludesuggestionsforwaysofapproachingeachofthese
headings.Essentialvocabulary,whichcandidateswillbeexpectedtoknow,understandanduse,ishighlightedbythe
useofbolditalicprint,normallyatthefirstpointwherethewordsareused.

PyotrTchaikovsky(18401893)
RomeoandJuliet(FantasyOverture)

1
Background

Untilthenineteenthcentury,musicinRussiawasalmostentirelyItalianateinstyle.SeveralItaliancomposerslived
andworkedinRussia,andmanyyoungRussiancomposersweresenttostudyinItaly.Amongtheirnumberwas
MikhailGlinka(18041857),whostudiednotonlyinItalybutalsoinGermanyintheearly1830s.Glinkawasthefirst
significantcomposertobreakwiththefashionforItalianatemusic.Histwofamousoperas,ALifefortheTsar(1836)
andRusslanandLudmilla(1842),hadtextsintheRussianlanguageandmusicthatusedRussianfolkmelodiesasan
integralpartoftheirmusicalstructure.Betweenthem,thesetwooperasestablishedanewanddistinctively
nationalistvoiceinRussianmusic,thatwastobeemulatedbymanylatercomposers.

InthegenerationfollowingGlinkathemostimportantRussiannationalistcomposerswerethemembersofagroup
knownastheKutchka(theMightyHandfulormorebrieflyTheFive)Balakirev,Borodin,Cui,Mussorgskyand
RimskyKorsakov.WiththeexceptionofBalakirevtheyhadnoformaltraininginmusicbutwerelargelyselftaught;
itwasthereforeBalakirevwhobecametheirprincipalmentorandwhowasinmanywaystheleaderofthegroup.

TchaikovskysbackgroundwassimilarinsomewaystothatofmostoftheFive.Beforehedecidedtomakehiscareer
inmusichetrainedasalawyerandworkedforsometimeintheMinistryofJustice.Hismusicaltalentshadbeen
evidentfromanearlyage,however,andin1863heresignedfromtheMinistryandenrolledasafulltimestudentat
theStPetersburgConservatory,wherehestudiedcompositionwithAntonRubinstein.Threeyearslaterhemoved
totakeupapositionasprofessorofharmonyatthenewlyestablishedMoscowConservatory.In1867hemet
BalakirevforthefirsttimeandforafewyearsallowedhimselftobeguidedbyBalakirevssuggestionsandcriticisms.

TheinitialideathatTchaikovskyshouldcomposeanorchestralworkbasedonShakespearesRomeoandJulietcame
fromBalakirev,whosuggestedittohimin1869.AtfirstTchaikovskyseemedreluctanttobegin,soBalakirevwrote
tohimwithanoutlineofhowthemusicmightbeplanned,withanIntroductiondescribingthecharacterofFriar
Laurence,anAllegrodepictingthefeudbetweentheMontagueandCapuletfamiliesandathemeforthelove
betweenRomeoandJuliet.Hedescribedthekindofmusicthateachsectionshouldcontain,evenincludingdetailsof
themainkeyshethoughtappropriate.Tchaikovskythensettoworkandcompletedafirstversionofthepiecewithin
afewmonths,thoughhedidnotallowBalakirevtoseeanyofthemusicuntilhehadfinished.Eventhenhedidnot
sendacopyofthecompletescore,butonlysomequotationsofthemainthemes,addedasapostscripttoaletterin
whichheacknowledgedthathehadfollowedBalakirevsoutlineinalmostallparticulars.Balakirevrepliedwithhis
opinionofthethemes.HeapprovedoftheAllegroandespeciallyoftheLoveTheme,butthoughttheIntroduction
wastoomuchlikeaHaydnstringquartet.Whatitneeded,hesaid,wasthecharacterofOrthodoxchurchmusic,ina
choraletexturesimilartoonesincertainworksbyLiszt.

ThefirstversionofRomeoandJulietwasperformedinMoscowon16March1870.AlthoughTchaikovskybelievedit
tobethebestworkhehadyetwritten,heregardedsomepartsofitasinadequate.Duringthesummerthatyearhe
rewroteit,substitutinganewIntroductionandrevisingmuchofthesubsequentmusic.Balakirevwaspleasedbythe
newIntroductionbutstillhadreservations,particularlyaboutthelastsectionofthework.Nevertheless,Tchaikovsky
thoughthehaddoneallthatwasnecessary;thesecondversionwaspublishedin1871andfirstperformedinSt
Petersburgon17February1872.

TchaikovskymadeonefurtherrevisiontoRomeoandJulietsomeyearslater,in1880.Thistime,againfollowing
Balakirevscriticisms,herewrotethelastsectiontoprovideanimprovedclimaxtotheRecapitulationandamore
satisfactoryCoda.Thisistheversionwhichisnowregardedasdefinitive.Itwaspublishedin1881butdidnotreceive
itsfirstperformanceuntilitwasgiveninTbilisi,thecapitalcityofGeorgia,on1May1886.


TchaikovskysRomeoandJulietisanexampleofprogrammemusicmusicthattellsastoryordescribesascene.The
termwasfirstusedbyLiszt,butithassincebeenfoundextremelyusefulasawayofcategorisingmusicwrittenmuch
earlier,includingsuchworksasVivaldisFourSeasonsorBeethovensPastoralSymphony.Itisnormallyexpected
thatapieceofprogrammemusicwillhavesomekindofverbalannotation(aprogramme)attachedtoit,toexplain
thestorythatitportraysortodefinewhatisbeingdescribed.InthecaseofRomeoandJuliet,however,thereareno
verbalannotationsassuch.BecauseShakespearesplayissowellknown,Tchaikovskycouldassumethathis
audiencewouldunderstandthemusicwithoutprovidinganyadditionalprogramme.AnyIGCSEcandidateswhodo
notknowthebasicstoryoftheplaymaythereforeneedtobeintroducedtoitaspartofthecourse.

DuringtheRomanticPeriodalltheartssharedapreoccupationwithsubjectsdrawnfromnature,historyorliterature
(initsbroadestsense,includingmythology,legendandfairytale).FavouriteauthorsincludedByron,Schiller,Goethe
orScott,butShakespeareoccupiedaspecialplaceintheRomanticimaginationandseveralnineteenthcentury
composerswroteworksbasedonhisplays.Someofthesewereoperas,butmanywerepiecesoforchestral
programmemusicinwhichacarefulselectionofcharacters,themesorincidentsfromtheplaycouldallowthe
composerfreedomtocapturetheessenceofthedramawithouttheneedforwords.TchaikovskysRomeoandJuliet
isjustsuchapiece.Itmakesnoattempttotellthestory,butinsteadpresentsaseriesofmusicalthemeswhich
characteriseimportantelementsofthedrama,structuredasamovementinSonataForm.

TchaikovskyreturnedtoShakespeareansubjectsonfourfurtheroccasions.TheTempest(1873)andHamlet(1888)
werepurelyorchestralworks;theIncidentalMusicforHamlet(1891),writtenforaproductionoftheplayinSt
Petersburg,usessolovoicesaswellasasmallorchestra;andaDuetforRomeoandJuliet,scoredforSopranoand
Tenorvoiceswithorchestra,wasincompletewhenTchaikovskydiedin1893andwasfinishedbyTaneyev.Other
worksinspiredbyliteraturethatwaspopularamongRomanticartistsincludetheoperasEugeneOnegin(1877/8,
basedonPushkin)andTheMaidofOrleans(1878/9,basedonSchiller);theballetsTheSleepingBeauty(1888/9,based
onfairytalesbyCharlesPerrault)andTheNutcracker(1891/2,basedonaversionbyAlexandreDumasofastorybyE.
T.A.Hoffman);andtheorchestralworksFrancescadaRimini(1876,basedonDante)andManfred(1885,basedon
Byron).

TchaikovskyisnotgenerallyclassifiedasaNationalistcomposer,unlikeBalakirevandtheothermembersofThe
Five.Thecosmopolitannatureofhismusic,whichplacedhimmoreinthemainstreamofnineteenthcentury
EuropeanmusicthananyofTheFive,meantthathedidnotwholeheartedlyallyhimselftotheRussiannationalist
movement.ThereisneverthelessadistinctlyRussiansidetohismusic,initscolourfulorchestration,itsreferencesto
aparticularkindofmodalityandespeciallyinitsmomentsofdeepmelancholy.Allthesecharacteristicscanbe
clearlyobservedinRomeoandJuliet.

2
Instruments

TchaikovskysRomeoandJulietisscoredforalargeorchestra,typicalofthelate19thcentury,consistingofpiccolo,2
flutes,2oboes,CorAnglais,2clarinets,2bassoons,4horns,2trumpets,3trombones,tuba,timpani,percussion,
harpandstrings.

Transposinginstrumentsinthisworkarerathercomplicated,becausethereareseveralofthemandtheydonot
alwaysusethetranspositionsthatarenowadaysregardedasnormal.Itmaybehelpfultoteachcandidatesthatthe
expressioninFmeansthatthenoteFisproducedwhentheplayerfingersaC,orthatinAmeansthatthenoteAis
producedwhentheplayerfingersaC;thisprincipleappliestoallsuchtranspositions.Theonlyotherfactorthat
needstobetaughtiswhetherthenoteproducedishigherorlowerinpitchthantheCthatisfingered.Candidates
maybecurioustoknowwhytranspositionsareusedatall(forreasonsconcerningthehistoryandacousticdesignof

theinstruments),buttheydonotneedthisknowledgeforthepurposesoftheexaminationandwillnotbetestedon
it.

ThefollowingarethetransposinginstrumentsinRomeoandJuliet:

Piccolo:thispartiswrittenanoctavelowerthanitsounds(butcandidateswillnotbeexpectedtotransposeanyof
thispart).Insomeperformancesplayerstransposesectionsofthispartanoctavehigheragain,sincetheinstrument
producesitsmostpenetratingtoneonlyinitshighestregister.
CorAnglais(showninthescorebyitsItaliannameofCornoinglese):thisinstrumenthasarathermisleadingname,
whichtranslatesliterallyintoEnglishasEnglishHorn.Itisimportantthatcandidatesrealisethatitisnotahornatall,
butthelowestinstrumentoftheOboefamily.ItspartsarealwayswritteninF,aperfect5thhigherthantheysound
(socandidatesneedpracticeintransposingsmallfragmentsofthispartdownaperfect5th).
2Clarinets:thesearepitchedinAthroughoutthework,writtenaminor3rdhigherthantheysound(socandidates
needpracticeintransposingsmallfragmentsofthispartdownaminor3rd).
4Horns:thesearepitchedinFthroughout,written(liketheCorAnglais)aperfect5thhigherthantheysound(so
candidatesagainneedpracticeintransposingsmallfragmentsofthesepartsdownaperfect5th).
2Trumpets:thesearepitchedinEthroughout,writtenamajor3rdlowerthantheysound(socandidatesneed
practiceintransposingsmallfragmentsofthesepartsupamajor3rd).Itisimportanttonotethatthesearetheonly
transposinginstrumentsinthescorewherethetranspositiongoesup,notdown.
DoubleBass:thispartiswrittenanoctavehigherthanitsounds(butcandidateswillnotbeexpectedtotransposeany
ofthispart).

Inadditiontothetransposinginstruments,therearesomepartswhichuseclefsotherthanthefamiliartrebleand
bassclefs.TheTenorTrombonesarewritteninthetenorclef(wheremiddleCisonthesecondlinefromthetopof
thestave)andtheViolasarewritteninthealtoclef(wheremiddleCisonthemiddleline).Candidatesshouldalso
practisewritingsmallfragmentsofthesepartsineitherthebassclef(fortheTrombones)orthetrebleclef(forthe
Violas).

TheBassoonpartisoccasionallywritteninthetenorclef,whenitgoestoohightobewrittenonthenormalbassclef
withoutanexcessivenumberoflegerlines.Forthesamereason,theCellopartissometimeswritteninthetenor
clef,oreventhetrebleclef.ItshouldbenotedthatTchaikovskyusestheoldconventionthatwhenthecellopartisin
thetrebleclefitisalsowrittenanoctavehigherthanitisintendedtosound.Thisconventiongraduallydiedoutlater
inthenineteenthcentury;sincethencomposershavenotatedcellopartsattheirsoundingpitch,whicheverclefisin
use.

3
DirectionsintheScore

TchaikovskywrotehistempomarkingsandotherdirectionsinItalian.Therearerelativelyfewtempoindications,
mostofwhichoccurinthefirstsectionofthescore,andtheyshowthatTchaikovskywascarefultomakehis
intentionsasclearaspossible.Hewasnotalwayscontenttousesimple,singlewordindications,butoftenqualified
them:theresultisthatsomeofthemneedexplanation.

AndantenontantoquasiModerato(atthestart)
Thisliterallymeansfairlyslow,butnottoomuch,asifatamoderatespeed.ItimpliesthatTchaikovskywas
concernedthattheinitialtempomightbetakentooslowly.
Pocoapocostring.accel.(bars7890)
Thisisaninstructionthatthemusicshouldgetfaster:accel.isanabbreviationforaccelerando,whichsimplymeans
increasingthespeed.Howeverstring.isanabbreviationforstringendo,whichmeansthatthereshouldalsobean
increaseintension,leadingtotheAllegroatbar90.

Moltomenomosso(bar96)
Literallyalotlessmovement,i.e.muchslower.Themusicatthispointisbasedontwoearlierpassages(bars1120
and5160),whichmayimplyareturntotheoriginaltempoatthispoint,oritmaymeanthatthetempohereshould
beevenslower.Thisisoneexampleofaslightlyambiguousmarking.
String.al.(bars106111)
Anotherstringendo,increasingbothtensionandspeed,leadingto
Allegrogiusto(bar112)
Thishastwomeanings.ThewordgiustomeansthattheAllegroshouldnotbetoofast,butitalsoimpliesthatthe
musicshouldbeplayedinstricttime.ItwasnormalinTchaikovskystimeformusictobeplayedwithacertain
amountofrubato,especially(butnotexclusively)inslowsections.Inkeepingwiththedramaticcontentofthemusic
atthispoint,Tchaikovskyclearlydoesnotintendthatrubatoshouldbeusedinthissection.
Moderatoassai(bar485)
Thisistheonlyothertempoindicationinthescore.Itmeansataverymoderatespeedandappliestotheshort
Codaattheendofthework.Thereallysignificantpointisthatnochangesoftempoaremarkedanywhereinthe
mainbodyofthemovement:everythingfromthebeginningoftheExpositionuntiltheCoda(includingthehighly
expressiveLoveTheme)istobeplayedatthesameunderlyingtempo.Mostconductorsdo,however,allowthe
tempotofluctuatequitesignificantly,butthismaynotbeexactlywhatTchaikovskyhadinmind!

Candidatesalsoneedtounderstandthemainabbreviationsfoundinthescorewhichrelatetosomeofthe
conventionsusedinnotatinganorchestralscore.Theseinclude:

Theabbreviationa2inthewoodwindandbrassparts,meaningthatbothinstrumentswrittenonasinglestaveplay
thesamenotes;
Theabbreviation1.inthewoodwindandbrassparts,meaningthatonlythe1stplayershouldplaythephrasethat
hasthismarking.ThesimilarnumbersintheHornpartsshowhowmanyofthefourhornsshouldplay,andwhich
ones;
TheabbreviationconSord.inthestringparts,whichmeansthattheinstrumentsshouldbeplayedwiththemute.
ThisisinvariablyfollowedbytheabbreviationsenzaSord.atthepointwherethemuteshouldberemoved.
Theabbreviationpizz.(shortforpizzicato)inthestringparts,meaningthatthestringsshouldbepluckedwiththe
fingeruntilthismarkingiscancelledbythetermarco,meaningthattheplayersshouldresumeusingthebow;

4
Techniques

Tchaikovskysmusicistonalbutoftenusesanextendedvocabularyofchords,typicalofthenineteenthcentury,
whichinvolvessignificantuseofchromaticismandenharmonicchanges.IntheopeningsectionofRomeoandJuliet
themainmelodyandmuchoftheharmonyaremodal,evokingthetraditionsofRussianOrthodoxchurchmusic.
Thereareextendedpedalpointsinsomepassages,especiallyintheLoveTheme.Thedevelopmentofthemes
frequentlyinvolvessequentialrepetitionsandthereismuchuseofsyncopationasameansofgenerating
excitement.Contrapuntaltechniquesareemployedsparingly,butincludeimitationandinversion.

5
StructureandForm

TchaikovskyfollowedBalakirevsinitialoutlineofRomeoandJulietveryclosely,preservingitthroughalltherevisions.
HeevenadoptedBalakirevssuggestionsaboutthemainkeysoftheoverture,withtheFirstSubjectinBminorand
theSecondSubjectinDFlatmajor(Balakirevhadaparticularfondnessforkeyswithtwosharpsorfiveflats).Inthis
respectRomeoandJulietdoesnotfollowthenormalclassicalkeystructureofaSonataFormmovement,wherethe
SecondSubjectwouldnormallybeineithertheDominant(foramovementinamajorkey)ortheRelativeMajor(for
amovementinaminorkey).SuchadeparturefromtheusualexpectationsofSonataFormisoneofthefeaturesof
RomeoandJulietthatmarksitoutasaRomanticreinterpretationofthestructure.Anotheristhewayinwhich

TchaikovskydoesnotrestrictthedevelopmentofthemestotheformalDevelopmentSection.Insomecaseshe
beginstodevelopthethemesalmostassoonastheyhavebeenintroduced;infacttherearedevelopmentalpassages
ineverysectionofRomeoandJuliet,includingtheExpositionandRecapitulation,andeventheIntroduction.

InordertounderstandhowTchaikovskymodifiedtheform,candidatesneedtoknowthatthemainoutlinesof
traditionalSonataFormareasfollows:

EXPOSITION(whichintroducesthemainthemesinaparticularorder)

FirstSubjectintheTonickey;
Transition(alsocalledtheBridgePassage),whichmodulatestotheDominantkeyifthemainkeyofthesymphonyis
major(ortotheRelativeMajorifthemainkeyisminor);
SecondSubjectintheDominant(orRelativeMajor)key;
Codetta(whichfinishesthissectioninthekeyoftheSecondSubject)
TheExpositionismarkedtoberepeatedalthoughtherepeatisoftenmissedoutinmodernperformances.
However,thischangestheproportionsofthestructureverysignificantly.

DEVELOPMENT(duringwhichthemesmaybeextended,fragmentedorcombined,andthemusicmodulates
frequentlyandextensively.

ClassicalcomposersusedtheDevelopmenttoexplorethelatentpossibilitiesoftheirthemes)

RECAPITULATION(returningtothemusicoftheExposition,butwithsignificantmodifications)

FirstSubjectintheTonickey;
Transitionadjustedsothatitdoesnotmodulateexceptinpassing;
SecondSubjectintheTonickey.

CODA(whichfinishesthewholemovementintheTonickey).TheCodaoftenusessimilarmusictotheCodetta,but
itisnormallylonger.

Inadditiontotheabove,someClassicalmovementsinSonataFormhaveaslowIntroductionatthebeginning,which
maybe(butoftenisnot)relatedtooneormoreofthethemesusedinthemainbodyofthemovement.

6
Analysis

INTRODUCTION(bars1111)

ThisismeantasamusicaldescriptionofthecharacterofFriarLaurence.Therearefourmainideas:

TheChoraletheme,playedinitiallybyclarinetsandbassoons(bb110),inamodalFsharpminor;
Amotifinthebass(bb1115)withchromaticharmony;repeatedinthetreble(bb1518),modulatingtowardsD
majorandlinkingto
Afurthermotif(bb2127),withachangeofkeysignatureatthepointwherethebassCsharpfromb20is
enharmonicallychangedtoDflat.Themotifconsistsofarisingsequentialpatternwithachainofsuspensionsinthe
woodwind,withadescendingpatternof3rdsinthecellos,overapedalDflatthatfallstoCinb26(modulating
towardsFminor);
Ahighlycharacteristicsequenceofsustainedchords(bb2837),somewithrisingharparpeggios,andarisingmotif
playedbytheflutesthatrepeatsthelastfewnotesofthepreviouspassage.


Aftera3barlink(bb3840)derivedfromthedescending3rdsofthethirdmotif,theChoralethemereturnsatb41inF
minor:avariedrepeat,morefullyscored,withanadditionalscalicaccompanimentplayedbypizzicatostrings.The
secondmotiffollows(b51),thenthethird(b61),thistimeoverapedalCthatfallstoBinb66(modulatingtowardsE
minor).Thefourthideareturns(b68),thistimewiththerisingmotifplayedbyviolinsinsteadofflutes.

Thereisanotherchangeofkeysignature(b78),andamarkingofstringendoandaccelerando.Ashortpassageof
developmentfollows,basedonthesecondmotif(overapedalEthatbeganinb76andisnowcontinuedinthe
timpani).ThekeyisAminor.TheChoralethemereappearsinamodifiedform(b86),leadingtoaclimaxatb90.
Overthenextsixbarsthemusicmodulates,arriving(b97)onachordofFsharpmajor(theDominantofBminor).

ThepassagemarkedMoltomenomossoactsasalinktothestartofthemainbodyofthemovement.Itisbasedon
thesecondmotif.Fromb105,wherethekeyofBminorisfinallyestablished,aseriesofrepeatedTonicchords,
playedalternatelybywoodwindandstringsoveraDominantpedal,withanotherstringendo,leadsdirectlyintothe:

EXPOSITION(bars112272)Mainkey:Bminor

FirstSubject(bb1121611)

ThisismeantasamusicaldescriptionofthefeudbetweentheMontaguesandCapulets,andofthestreetfighting
betweenthetwofamilies.

Themaintheme(A1)ispresentedinatuttiandischaracterisedbystrong,syncopatedrhythms.Asubsidiaryidea
(A2)(b115)consistsofrisingsemiquaverscalesintheviolins,imitatedchromaticallyandininversionbythelower
strings.Abriefthirdidea(A3)(b1183)leadstoarepeatofA1atb120.

Asectionofdevelopmentfollows(b122),basedonamotif(A4)intheviolinsthatrisesthroughaminor3rdwitha
syncopatedaccompaniment(thisisinfacttakenfromA1thelasttwonotesofb112andthefirstnoteofb113).A1
reappearsinaslightlymodifiedversion,playedinimitationbetweenlowerstringsandwoodwind,inDminor(b126)
andGminor(b130),withmoresemiquaverrushingabout(Tchaikovskysowndescription)intheupperstrings.From
b135motifA4dominates,alternatingbetweenwoodwindandstringswithfurtherinversions,graduallymodulating
backtotheTonic.Fromb143apassageofsemiquaverscalesinthestringsbasedonA2ispunctuatedbyTonic
chordsinthewindandbrass,oftenplayedonweakbeatsoronthesecondquaverofthebeat.A1reappears(b151),
followedbyamodifiedversionofA2(b154)andA3(b157),leadingtoarepeatofA1(b159).

Transition(bb161183)

Moresemiquaverscalesleadtoamodulatingprogressioninb163whichleadsontotheDominantchordofDmajor
(b1641).TherestoftheTransitionisbasedonA4,overapedalA.Thereisagradualdiminuendoandlongernote
valuesintheaccompanyingchords,togetherwithagradualsmoothingoutofthesyncopation,createtheeffectofa
rallentandoeventhoughnochangeoftempoismarked.Atb180themusiccomestorestontheDominant7thchord
ofDmajor,sothatitappearsasiftheSecondSubjectisgoingtobeinthenormalkeyofD(theRelativeMajor).

SecondSubject(bb1842431)Mainkey:Dflatmajor

ThisisknownastheLoveTheme,andismeanttodescribethelovebetweenRomeoandJuliet.

Themusicslipsintothishighlyunusualkeyinasimplebutmostingeniousway.TheA7chordisreinterpretedasan
Augmented6th,allowingittoresolveontothe2ndinversionofDflatmajor,thusneatlysidesteppingtheexpected

resolution(careneedstobetakenoverthetranspositionofthehornpartstoseeexactlywhichnotesarebeing
playedinthesechords).

TheSecondSubjecthastwomainideas.Thefirstone(b184)isthefamousLoveThememelody(B1),playedbycor
anglaisandmutedviolaswithagentlysyncopatedaccompanimentinthehornsandabasslineplayedbybassoon
andpizzicatocellosandbasses.Thesecondone(B2)followsatb1924,andconsistsofaquietchordprogression
playedbymutedstringsoveraDflatpedal.Thisdevelopswithchromaticharmonyandacrescendo,leadingtoa
variedrepeatofB1atb213.Themelodyisnowinthewoodwind,withtheadditionofayearningappoggiatura,
accompaniedbyquavermovementintheupperstringsandasighingmotifinthe1sthorn.Themusicrisestoa
climax(b234),thenmakesarapiddiminuendoinreadinessforathirdrepeatofB1atb235.

Codetta(bb243272)

Theharpplaysachordalfigure,graduallydescendingthroughchromaticharmonies,withfragmentsofmelody
playedbybassoonandcoranglais.TherearefurtherreferencestotheAugmented6thchord,markedoutby
markingsofsforzandointhebass.

DEVELOPMENT(bars273352)

ThisismainlybasedonmaterialfromtheFirstSubject,combinedwithappearancesoftheChoraletheme.The
principalmotifsinvolvedareA1(b273);A2(b278);Chorale(b280)incombinationwitharisingphrasebasedonthe
rhythmofA1;A3(b285);Chorale(b293);A2(b300),withtheChorale(b302);A3(b309);Chorale(b315);A4
interspersedwithfragmentsofA1(b320)andjoinedbythedescendingversionofA2(b326).Themusicthenrisesto
amassiveclimax(b335)wheretheChorale,playedbythetwotrumpetsinunison,isaccompaniedbysnatchesofA1
intherestoftheorchestra.Thiseventuallyleads(b345)toarepeatofbb143150,completewiththeDominantpedal,
preparingforthe:

RECAPITULATION(bars353484)

AlthoughitbeginswiththeexpectedreturnofA1insomethingclosetoitsoriginalform,thisRecapitulationdoesnot
followthestandardprocedureandincludesagreatdealoffurtherdevelopment.InitiallyA1,A2andA3reappearin
theirexpectedorder(bb353362areequivalenttobb112121,despitesomesignificantdifferencesindetail).Inbb
363and364thephraseisextended,thenthreebarsbasedonA2leadquiteunexpectedlytoareturnofB2atb3674,
nowoverapedalDnaturalAtthispointthesemiquaverscontinueintheviolins,givingthethemeamuchmore
unsettledfeelthanitoriginallypossessed.Thiscontinues,withagradualcrescendo,untilb389,whereB1returns,inD
major(intheversionwiththeappoggiatura);thecrescendocontinuesasB1undergoesanextendeddevelopment,
reachingabigclimaxatb410.Evenwhentheclimaxsubsidesthedevelopmentcontinues,withB1presentedin
imitation(bb419/420).Anotherlongcrescendoleadstoafurtherclimaxatb436.FragmentsofA1areintroduced
fromb441,andA1initsentiretyreturnsonceagainatb446,inBminor,followedbymoredevelopmentofA2in
combinationwiththeChorale(bb449/450).ThekeyshiftsupasemitonetoCminorforthenextappearanceofA1
(b454),followedasbeforebyA2andtheChorale.ThereisstillmoredevelopmentofFirstSubjectmaterialfromb
462,inyetanotherextendedclimax.Thisgraduallysubsidesfromb475andthesectionendswithaunisonphrasein
thebassinstruments,finishingonanexpectantDominantnote,withapause(b484).Thefortissimoonthetimpani
atb483isassumedbyseveralcommentatorstomarkthemomentoftheloversdeath.

CODA(bars485522)MainkeyBmajor

ThefirstpartoftheCoda(bb485493)isakindoffuneralmarch,withapedalBsustainedbythetuba,repeated
pizzicatoBsinthedoublebasspartandanominousdrumbeatinthetimpani.Abovethisthestringsplaytwo
fragmentaryreminiscencesoftheLoveTheme.ThewoodwindthenplayamournfulChorale(bb494509),which

includesaninversionoftheA3motiffromtheFirstSubject(notethecharacteristicallyRussianalternationofBmajor
andGmajorchords).AfinalappearanceoftheLoveThemefollows(bb510518),soaringgentlyaboveachromatic
bassline,withsyncopatedaccompanyingchordsintheupperwoodwind.TherepeatedBmajorchordsthatendthe
workrecalltherepeatedBminorchordsfromtheendoftheIntroduction,orfrombb143147oftheExposition,but
nowtheyconveysomethingentirelydifferentfromtheiroriginalmeaning.Inthememorablewordsofthe
Tchaikovskyspecialist,DavidBrown,thesuccessionoffiercetonicchordsharshlyrecallsthatfatalfeudonwhich
theseyoungliveshavebeenbroken;thewarringfamiliesnowstandtransfixed,therepeatedchordsnolonger
suggesting,asattheendoftheIntroduction,animminentexplosionofferociousstrife,butastunnedhorroratwhat
hasbeendone.

LudwigvanBeethoven(17701827)
SymphonyNo.6inFMajor,Op.68[Pastoral](movements3,4and5)
1 Background
Beethovenwasoneofthemostsignificantcomposersofthelate18thandearly19thcenturies,hisreputationresting
onnineSymphonies,fivePianoConcertos,oneViolinConcerto,thirtytwoPianoSonatas,seventeenString
Quartets,twoMassesandseveralotherorchestral,chamberandvocalworks.Instyleandoutlookhismusicstandsat
theveryendoftheClassicalPeriod,thoughmanycommentatorsusedtoclassifyitasrepresentingthefirst
expressionofRomanticisminmusic.

BeethovensSymphonieswerecomposedoverarelativelylongperiodoftime,from1799,whenhebeganSymphony
No.1,to1823,whenhecompletedSymphonyNo.9.Heworkedslowlyandmethodically,andtheprogressofeach
workcanbeobservedthroughthemanysketchbooksheusedtoworkouthisideasastheydeveloped.He
transformedtheentirenatureoftheSymphony,expandingitsforms(especiallySonataForm),increasingitslength
andgivingitagreatersignificancethanithadpreviouslyheld.Inthiscontext,thefactthathewrotefarfewer
SymphoniesthaneitherHaydnorMozartisindicativeofadifferentapproach.Forcomposerswhowrote
Symphonieslaterinthe19thcentury,Beethovensinfluencemeantthattheycametoseethisgenreasthevehiclefor
expressingtheirmostimportantideas.

WhilemostofBeethovensSymphoniesareexamplesofwhatisoftencalledabsolutemusic,someofthemreferto
conceptsandideasthatcomefromsourcesoutsidetheworldofmusicitself.SymphonyNo.3,forexample,grewout
ofBeethovenspoliticalidealismandwasoriginallytohavebeendedicatedtoNapoleonBonaparte(thededication
wasfamouslyremovedinafitofangerwhenNapoleoncrownedhimselfEmperorin1804).BythetimeofSymphony
No.9,Beethovensdesiretomakehisphilosophicalintentionsabsolutelyclearledhimtoincludeachoralfinale,a
settingofSchillersOde to Joy(withitsreferencestothebrotherhoodofman).SymphonyNo.6isalsobasedon
extramusicalideasconcerningthepowerandbeautyofNatureathemethatwastobecomeanespecially
importantaspectofRomanticism,butwhichwasalreadywellknownin18thcenturyAustria.Beethovenwouldhave
beenfamiliarwiththetwoOratoriosofhisformerteacher,Haydn(The Creation and The Seasons),andthese
worksbelongtoapastoraltraditioninEuropeanartthatgoesbackseveralhundredyears.Hemayalsohaveknowna
workforchorusandorchestraentitledHymne lagriculture(HymntoAgriculture)composedin1796bytheFrench
composerJeanXavierLefvre(17631829).Theorchestralintroductiontothisworkbearsastrikingsimilaritytothe
openingofthelastmovementofthePastoralSymphony.Beethovenlovedthecountrysideandspenthissummers
invariousvillagesaroundVienna:hislettersarefullofreferencestohisdelightinlongwalksthroughthefieldsand
woods.Heoftentookpaperandapencilwithhim,sothathecouldjotdownanymusicalideasthatoccurredtohim
duringhiswalks.

AlthoughtheearliestsketchesforthePastoral Symphonydatefrom1803,mostoftheworkontheSymphonywas
donebetweenMarchandDecember1808.Bythistime,theprogressivedeafnesswhichhadbeentroubling

Beethovensinceatleast1801hadbecomeapermanenthandicap,preventinghimfromearningasatisfactoryliving
asaperformer.Hecametodependonpaymentsfromwealthypatrons(towhommanyofhisworkswere
dedicated),onreceiptsfrompublicperformancesofhisworks(thoughthesewereveryunreliable)andonselling
themtopublishers.ThePastoral Symphonywasdedicatedtotwoofhismostimportantsupporters,PrinceJoseph
LobkowitzandCountAndreyRazumovsky.ItwasfirstperformedataconcertheldintheTheater an der Wienin
Viennaon22December1808(theprogrammealsoincludedfirstperformancesoftheFifthSymphonyandtheChoral
Fantasia,Op.80).TheorchestralpartswerepublishedbytheLeipzigfirmofBreitkopfundHrtelinMay1809;the
scorewasnotissueduntil1825.

ThePastoral Symphonyisanexampleofprogrammemusicmusicthattellsastoryordescribesascene.Theterm
wasfirstusedbyLiszt,butithassincebeenfoundextremelyusefulasawayofcategorisingmusicwrittenmuch
earlier,includingsuchworksasVivaldisFour Seasons.Itisnormallyexpectedthatapieceofprogrammemusicwill
havesomekindofverbalannotationattachedtoit,toexplainthestorythatitportraysortodefinewhatisbeing
described.InthecaseofthePastoral Symphony,theverbalannotationstooktheformofdescriptivetitlesforeach
movement,whichBeethovenintendedtobeprintednotonlyinthescorebutalsointheprogrammeofa
performance,sothattheycouldbeunderstoodbyperformersandlistenersalike.Hewasanxious,however,thatthe
descriptiveelementsintheworkwerenottobeoveremphasised:hisoriginalsubtitlewasMehr Ausdruck der
Empfindung als Malerei(Moretheexpressionoffeelingthanpainting).Thisimpliesthatthepurelymusical,
symphonicaspectsofthePastoral Symphonyareatleastassignificantasthedescriptive,ifnotmoreso.Thisisnot
musicalstorytelling,butasymphonywhoseemotionalworldisdefinedasaresponsetothefeelingssuggestedby
thetitlesofitsmovements.Nevertheless,severalcommentatorshavesuggestedthatitportraysasingledayinthe
country,frommorningtoevening:seeninthisway,theconnectionwithotherpastoralworksisonlystrengthened
onecharacteristicmanyofthemshareistheirsenseoftime,whetheritbetheprogressionoftheseasons(Vivaldis
Four Seasons orHaydnsThe Seasons),orofaweek(HaydnsThe Creation).

BeethovenstitlesforthefivemovementsofthePastoral Symphonyevolvedquiteslowly.Hemayhavebased
themonsimilartitlesusedinafivemovementsymphonyentitledLe portrait musical de la nature(MusicalPortrait
ofNature),composedin1784byanowobscurecomposercalledJustinHeinrichKnecht(17521817).After
experimentingwithvariousdifferentversions,Beethovenfinallychosethefollowing:
I

Erwachen heitere Empfindungen bei der Ankunft auf dem Lande[Awakeningofhappyfeelingson

arrivalinthecountryside]

II

Szene am Bach[Scenebythebrook]

III Lustiges Zusammensein der Landleute[Merrygatheringofcountrypeoplesometimesknownas

Thepeasantsmerrymaking]
IV Gewitter, Sturm[(Thunder)Storm]
V Hirtengesang. Frohe, dankbare Gefhle nach dem Sturm[ShepherdsSong.Joyful,grateful
feelingsafterthestorm]
BeethovenstitleforthefirstmovementwasalteredwhentheworkwasreprintedaspartoftheCompleteEdition
publishedbyBreitkopfundHrtelin1862.Mostlatereditions,includingtheEulenburgandPhilharmoniaminiature
scores,havefollowedthisincorrectversion.
The3rd,4thand5thmovementsarewritteninsuchawaythattheyleadintoeachotherwithnobreaksbetweenthe
movements.

2 Instruments
ThePastoral Symphonyisscoredforatypicalclassicalorchestra,withtwoeachofFlutes,Oboes,Clarinetsand
Bassoons(i.e.doublewind),twoHorns,twoTrumpets,twoTrombones,TimpaniandStrings.TheTrumpetsareused
onlyinthe3rd,4thand5thmovements,theTrombonesonlyinthe4thand5thandtheTimpanionlyinthe4th.In

10

additiontothetwoFlutes,aPiccoloisusedbrieflyinthe4thmovementtosuggestthewhistlingofthewind.

Thetransposinginstrumentsusedinthe3rd,4thand5thmovementsareasfollows:

2ClarinetsinBflat:thesepartsarewrittenatonehigherthantheysound(socandidatesneedpracticein
transposingshortfragmentsofthispartdown a tone);

2HornsinF:thesepartsarewrittenaperfect5thhigherthantheysound(socandidatesneedpracticein
transposingshortfragmentsofthesepartsdown a perfect 5th);

2Trumpets:inthe3rdand5thmovementsthesepartsareinC,involvingnotransposition.However,inthe4th
movementtheyareinEflatandthepartsarewrittenaminor3rdlowerthantheysound(socandidatesneed
practiceintransposingshortfragmentsofthesepartsup a minor 3rd).

DoubleBass:thispartiswrittenanoctavehigherthanitsounds(butcandidateswillnotbeexpectedtotranspose
anyofthispart).

Piccolo:thispartiswrittenanoctavelowerthanitsounds(butcandidateswillnotbeexpectedtotransposeany
ofthispart).

Mostoftheinstrumentalpartsarewritteninthefamiliartreble(G)andbass(F)clefs.TheexceptionsaretheViolas
andtheTrombones,whichusetheAlto clef(withMiddleConthemiddleline).Candidatesshouldalsolearnhowto
readthesepartsandshouldpractisetranscribingshortfragmentsofthemintothestandardtrebleclef(transcription
intothebassclefwillnotberequired).

Itshouldbenotedthatseveraleditionsofthescore(e.g.Eulenburg)showtheclarinettranspositionasClarinetti in
B,usingtheGermannameforBflat,andthetrumpettranspositioninthe4thmovementasTrombe in Es,using
theGermannameforEflat.Careneedstobetakentoensurethatcandidatesunderstandthissothattheyarenot
confused.MostscoreswilllisttheinstrumentsusingtheirItaliannames,socandidatesneedtobetaughttoavoid
obviousconfusions(e.g.corniarehorns,notcornets;trombearetrumpets,nottrombones).Theabbreviationsfor
theseinstruments,whichareshownafterthefirstpageofeachmovement,arealsoeasytoconfuse:thehornsare
normallyabbreviatedtocor,thetrumpetstotrandthetrombonestotrb.

3 DirectionsintheScore
Candidatesneedtounderstandthemainabbreviationsfoundinthescorewhichrelatetosomeoftheconventions
usedinnotatinganorchestralscore.Theseinclude:

Theabbreviationszu2ora2inthewoodwindparts,meaningthatbothinstrumentswrittenonasinglestave
playthesamenotes;

Theabbreviation1.inthewoodwindparts,meaningthatonlythe1stplayershouldplaythephrasethathasthis
marking(sometimesthisprincipleappliestoplayersotherthanthe1st,asatb95ofthethirdmovement,where
onlythe2ndBassoonplays);

Theabbreviationpizz.(shortforpizzicato)inthestringparts,meaningthatthestringsshouldbepluckedwith
thefingeruntilthismarkingiscancelledbythetermarco,meaningthattheplayersshouldresumeusingthe
bow.

4 Techniques
Beethovensmusicispredominantlydiatonicincharacter,thoughhemakesfrequentuseofchromaticnotesinhis
melodies,oftenusingthemaspassingnotes.Inthethirdmovementthereareseveralpedalpoints,recallingthe
characteristicdroneplayedbymanyfolkinstruments.Thereareseveralostinatopatterns(quiteunusualin
Beethovensmusic),whichalsorecallatypicalimageofthetraditionalmusicofthecountryside.Thethematic
materialreliesheavilyonshort,fragmentarymelodieswhichinvolveagreatdealofrepetition;theunderlying
harmonyissimplerthaninanyotherSymphonybyBeethoven,withfewminorchordsandhardlyanychromatic

11

harmonies,exceptinthe4thmovement,wherechromaticharmony(especiallythediminished7thchord)isused
extensively.Theharmonicrhythm(i.e.thepaceofharmonicchange)tendstobeslow,withsinglechordslasting
oftenforseveralbars.Contrastismadewhentheharmonicrhythmchanges,andbytheuseoflengthycrescendos
anddiminuendos.Abovetheslowmovingharmony,themelodiesareoftenlivelyandagile,withfrequentquaver
andsemiquavermovement.Theintervalofa3rd(oftenmajor,butsometimesminor)isanimportantfeatureof
boththemelodicwritingandtheharmonicorganisation(atypicallyBeethoveniancharacteristic),buttheTonic,
DominantandSubDominantchordsandkeysareusedextensively,underliningBeethovensemphasisonsomeof
themostessentialcomponentsoftonalmusic.SeveralpassagesintheSymphonysuggestthatBeethovenmayhave
beentryingtoencapsulatesomeofthefeaturesoffolkmusicinthismusic,butwithoutadoptinganyofitsactual
formsorinstruments.

5 StructureandForm
The3rdmovementisbasedonthestructureofaScherzoandTrio,butwithanumberofdeparturesfromthenormal
expectationsofthisform.CandidatesneedtoknowthatBeethovensScherzomovementsdevelopedoutofthe
MinuetandTriomovementsthathadbecomeestablishedasaconventioninsymphoniesbyHaydnandMozart.The
Minuetwasoriginallyadancemovement;inasymphonyitwasnormallythethirdmovementanditwasalwaysin3/4
time.ItstempoindicationwasnormallyTempo di menuetto,implyingthatitshouldbeplayedatamoderate
speedwithaclearfeelingofthreebeatstothebar.InBeethovensFirstSymphonythereisamovemententitled
Menuetto,withacentralTriosection,butitismarkedtobeplayedatamuchfastertempothananyofthe
correspondingmovementsbyHaydnorMozart,withafeelingofonebeattothebar.InBeethovensSecond
SymphonythetitleMenuettowasabandonedinfavourofScherzo(theItalianwordliterallymeansajoke,oratrick);
thesametitlewasusedintheThirdSymphony.InhislatersymphoniesBeethovendidnotgivetheequivalent
movementatitle,butsimplyatempoindicationusuallyAllegro, Allegro vivaceorevenPresto,thoughinthe
EighthSymphonyherevertedtothemoreconventionalTempo di Menuetto.

ClassicalMinuetmovementswerenormallyinTernaryForm(oftendescribedbrieflyasABA).ThePrincipalSection
(theMinuet)followedtheusualstructureofadanceinBinaryForm,witharepeatofbothitsmainparts.Thecentral
SubsidiarySection(theTrio)wasalsoinBinaryForm,withrepeatsofbothitsmainparts;originallythissectionwould
havebeenplayedbyjustthreeinstrumentshencethenamebutthispracticehadbeenabandonedlongbefore
suchmovementsbegantoappearinClassicalsymphonies.AttheendoftheTriocomposerswouldwritethewords
Menuetto da capoortheequivalent,andthePrincipalSectionwouldbeplayedagain,butpossiblywithoutthe
repeats.Itisimportantthatcandidatesdistinguishbetweenthestructureofeachofthethreesections(whichis
Binary),andthestructureoftheentiremovement(whichisTernary).Thisisaverysignificantdistinction,whichcan
oftenbeasourceofconfusion.

InthePastoral Symphonythethirdmovementhasadescriptivetitle(seeabove),butisnotidentifiedasaScherzo:
itissimplymarkedAllegro.ItfollowstheconventionalTernaryFormstructureuptoapoint,buttherearenointernal
repeatsineithertheScherzoorTriosections.Thereturntothebeginningoccursinitsexpectedplace,buttherepeat
appliestoboththeScherzoandtheTriosections.TheTrioismostunusual,becauseitiswrittenindupletime(2/4
insteadofthenormal3/4).ThisideacamefromsomeoftheAustriandancemusicofthetime,sothisisanothergood
exampleofthewaysinwhichBeethovenincludedfeaturesoffolkmusicinthissymphony.Aftertherepeatofthe
ScherzoandTriothemovementcontinueswithaCoda,whichseemsatfirsttobeathirdappearanceoftheScherzo
section;this,however,turnsouttobethelinkbetweenthe3rdand4thmovementsthatisneededbecausethe
movementsfollowwithoutabreak.

The4thmovementisinafreestructurewhichdoesnotcorrespondtoanyoftheClassicalformsthatwouldnormally
befoundinasymphony.Thatdoesnotimplythatthemovementhasnostructureatall,butsimplythatthestructure
islessconventionalthananyoftheothermovements.Thismovementisanadditiontotheconventionalfour
movementstructureoftheClassicalsymphony,anditcontainsthemostovertlyprogrammaticmusicinthewhole
work.

12

Theformofthe5thmovementisnotaltogetherstraightforward.SomeanalysesdescribeitintermsofaRondo,but
thisisnotwhollysatisfactory.OthersdescribeitasaSonataRondo(atermthatoriginatedinthe19thcenturyasan
attempttoaccountformovementsthatcontainedelementsofbothRondoandSonataForm),butthisisequally
problematic.InmanywaysthismovementfollowsthemainoutlinesofSonataFormfairlyclosely,butwitha
numberoffeaturesthatareunconventional.Theprinciplesofthisformwerenotfirmlyestablisheduntilc.1830,but
itisausefulbasisforunderstandingthestructureofseveralmovementsinBeethovenssymphonies,includingthe
firstandsecondmovementsofthePastoral Symphony,bothofwhichfollowthepatternveryclosely.The5th
movementislessclearinsomerespects,buttheessentialprinciplesoftheformareallpresent.
CandidatesneedtoknowthatthemainoutlinesofSonataFormareasfollows:

EXPOSITION(whichintroducesthemainthemesinaparticularorder)
FirstSubjectintheTonickey;
Transition(alsocalledtheBridge Passage),whichmodulatestotheDominantkeyifthemainkeyofthe
symphonyismajor(ortotheRelativeMajorifthemainkeyisminor);
SecondSubjectintheDominant(orRelativeMajor)key;
Codetta(whichfinishesthissectioninthekeyoftheSecondSubject)
TheExpositionismarkedtoberepeatedalthoughtherepeatisoftenmissedoutinmodernperformances.
However,thischangestheproportionsofthestructureverysignificantly.

DEVELOPMENT(duringwhichthemesmaybeextended,fragmentedorcombined,andthemusicmodulates
frequentlyandextensively.ClassicalcomposersusedtheDevelopmenttoexplorethelatentpossibilitiesoftheir
themes)

RECAPITULATION(returningtothemusicoftheExposition,butwithsignificantmodifications)
FirstSubjectintheTonickey;
Transitionadjustedsothatitdoesnotmodulateexceptinpassing;
SecondSubjectintheTonickey.

CODA
(whichfinishesthewholemovementintheTonickey).TheCodaoftenusessimilarmusictotheCodetta,butitis
normallylonger.

Inthe5thmovementofthePastoralSymphony,theTransition,SecondSubjectandCodettaaretreatedalmostasa
singleunit;theSecondSubject,inparticular,ismuchlesswelldefinedthaninmostSonataFormmovements.The
DevelopmentbeginswithasubstantialrestatementoftheFirstSubjectintheTonic(thisisthemainreasonforthe
movementsometimesbeingdescribedasaRondo),butthereafterislargelybasedonnewmaterial.The
Recapitulationisexactlyasexpected.TheCodaisextremelylongalmostaslongastheExpositionand
Developmentcombined,andtakingupmorethanathirdofthetotaldurationofthemovement.

Beethovensapproachtotheprincipleofdevelopmentinthismovement(asinthefirstandsecondmovementsas
well)issignificantlydifferentfromhisotherSymphonies.Thereismuchlessemphasisoncombinationand
fragmentationofthemes,andmuchmoreuseofrepetition.Thisisoneofthemosttellingwaysinwhichthecontent
ofthePastoral Symphonywasdeterminedbytheemotionaleffectofitsdescriptiveelements,creatingafeelingof
peacefulcontentment,interruptedbytheturbulenceandaggressionofthestorm,butfinallyreturningtoamoodof
joyfulcalmwhichisquiteunlikemanyofBeethovensotherworks.

13

Analysis
Thirdmovement:Allegro

Tonickey:Fmajor

Merrygatheringofcountrypeople(Thepeasantsmerrymaking)

SCHERZO(bb1164)

Althoughthissectioniscontinuousanddoesnothavetherepeatmarkingsthatwouldbefoundinaconventional
movementofthistype,theoutlineofaBinarystructureisclear.Thetempomarking,Allegro,isdefinedwitha
metronomemarkofdottedminim=108.Themusicmainlyfallsintoregularphrasesoffourbars;twophrases,
however,areextendedtosixbars.
Firstpart(bb184)

[NBallphrasesbeginwithananacrusis,butthebarnumberinginthisanalysis
ignorestheupbeatsforthesakeofsimplicity]

Fourmainthematicideasarepresentedinthispartofthemovement:
(i) Openingstatement(ThemeS1),playedbythestrings,staccatoandinunison,intheTonickey(18).The
themeendsonanA,whichisusedasaPivotNotetoleadinto:
(ii) Secondidea(ThemeS2),playedbystringsandwoodwind,legato,inDmajor,withatonicpedalpointonD
(916).(Notethatthechangeofkeyhasnomodulationassuch,andthatthecontrastof
FmajorandDmajor,whicharea3rdapart,ishighlycharacteristicofBeethovensharmonicproceduresinthis
symphony).

Thefirst16barsarethenrepeated,exactlyasbefore(1732).S1thenreappears,startinginDmajor(33),and
goingthroughGmajor(37)inpreparationforthereturnofS2intheDominantkeyof
Cmajor(41),overatonicpedalpointonC.ThismergesintoS1(47)withamodulationbacktoFandacrescendo
leadingtoarestatementofS1,fortissimo,playedtutti(53).Thisisthefirstofthe6barphrases(5358),
drawingattentionto:
(iii) Thirdidea(ThemeS3),playedtuttiandwithcharacteristicsforzando(sf)markings(5966);thisisrepeated
withvariouschangesinorchestration(6774)andleadsto:
(iv) Fourthidea(CadentialphraseS4),adistinctivepatternin3rdsplayedbyhornsandbassoonsaboverising
arpeggiosinthestrings(7578),makinganemphaticperfectcadenceintheTonic(7879).Thisisrepeated(79
82),andtheTonicchordisthenemphasisedinafurther4barphrase(8386).

SecondPart(bb85164)
S4continuesinthe1stand2ndviolins,after4barsturningintoanaccompanimenttothenewidea(ThemeS5),
playedbyasolooboe(91).InkeepingwiththenotionthataScherzomeansajoke,Beethovenmakestheoboe
entry2beatslate(ifthephrasewasinitscorrectplace,itwouldformananacrusisonthe3rdbeatofb90).The
resultingsyncopationsmakeitsoundasiftheoboeishurryingtocatchup.Thisthemeispunctuatedbya
descendingpatterninthebassoonpart(95).S5isrepeated(99)butadjustedtoformaclearperfectcadenceinthe
Tonic(105106).Bars107122arearepeatof91106,butwiththeadditionofalittleinterjectionbytheclarinetat
theendofeachhalfofS5(114and122),whichpreparesthelistenerfortheclarinettotakeoverthetune(123),
accompaniednowbythebassoonsplayingS4.Inanotherjoke,Beethovenextendsthesecondhalfoftheclarinet
versionofS5intoanother6barphrase,withacadenzalikeflourish(131132),asiftheclarinetweretryingtoshow
itwasbetterthantheoboe.S5thenpassestothehorn(133),withS4intheviolinandviolaparts.NotethatS5is
alteredinb135becausethequaverswhichshouldbeonthesecondbeatwouldhaverequirednotesthatwerenot
availableonthehorninBeethovenstime.Thehornsoloisextendedbyimitativeentriesfromtheoboe(141)and

14

clarinet(143)beforeitsfinalphrase(145).Thisisthenrepeatedbythehorn,oboeandclarinetinunisonabovea
tonicpedalpoint(149).Acadentialphraseisthendeveloped(154),withitsmainmelodyintheviolasandcellos
(joinedbythe2ndbassoonin158)andfragmentaryentriesintheoboeandclarinetwhichareaninversionofthelast
completebarofS5(comparetheoboepartin152and154toseehowthisderivationisachieved).At161themusic
ismarkedsempre pi stretto(i.e.thetempoincreases).Thecellosanddoublebassesplayasequentiallinkbased
onthecadentialphrase,whichleadswithoutabreakintotheTrio.

TRIO(bb165204)
Mostunusually,thisisindupletimeratherthanthenormaltripletime(imitatingsomeoftheAustriandancemusic
thatcouldbeheardatthetimeinvillagesnearVienna).ThetempomarkingisIntempodAllegro,withametronome
markofcrotchet=132(i.e.substantiallyfasterthantheScherzo).Thissectionalsolacksconventionalinternal
repeats,buttheoutlineofaBinarystructureremainsclear.
Firstpart(bb165180)
The4barmaintheme(T1)isplayedinunisonbythe1stand2ndviolins,ff,withheavysfaccentsandaScotch
Snaprhythm(167and168),accompaniedbyminimchordsinwoodwind,hornsandlowerstrings.Its
predominantrhythmicpattern(quaverandtwosemiquavers)derivesfromadetailintheCodaofthefirst
movement(bb476478intheclarinet).ThephrasemakesarathercrudemodulationtotheSubdominant(Bflat
major).Thisisplayedagain(169172).Thereisthenarepeatofwhathasgonebefore(173180),butwiththe
additionofarisingtripletmotifinthe1stflute.

Secondpart(181204)
T1isplayedbytheviolasandbassoons(181184),inanalteredversionthatstartsintheDominant
(Cmajor)andmodulatesbacktoF.Acountermelodyincrotchets(T2)appearsintheviolins,hornsandupper
woodwindareaddedtoemphasisethecadenceandthetrumpetsmaketheirfirstentryinthesymphony,playing
astridentrepeatedC.Thedescendingpatterninthecellosanddoublebassesisderivedfromthebassoonpartin
bb9597oftheScherzo.Thisisplayedagain(185188).
Arepeatfollows,butthemusicissubstantiallyalteredandextended.T1isplayedbythelowerstrings,whileT2
appearsinthe1stviolins,woodwind,hornsandtrumpets(189190).Thesecondhalfofthephrase(191192)is
nowchangedsothatitremainsintheDominant.Themelodyinthelowerstringsformsarisingapproachtothe
cadence,whilethe1stviolinsandwoodwindplayadescendingphrasethatisdecoratedbyturnsinthe1st
violins.Thisisplayedagain(193196)andtheperfectcadenceinCisfinallyresolvedat197.Theremaining8
barsoftheTrioconsistofarepeatedchordofCmajor(woodwind,horns,trumpets,violinsandviolas)abovea
risingphrase(cellosanddoublebasses)thatisbasedonT1andoutlinesthechordonthe1stbeatofeachbar.A
minimEinthe1sttrumpetand1stviolinsisheld,withapause(203),descendingtoacrotchetC,alsowitha
pause(204).

TheentireScherzoandTrioarethenrepeated.

CODA,formingaLINKtothe5thmovement(bb205264)
ThisbeginsexactlyasifitwereafurtherrepeatoftheScherzo(205215).S2,however,isdevelopedintoa6bar
phrase(213218),modulatingbacktotheTonic,whichisreestablishedwithaperfectcadence(219222)which
resolvesatthestartofthenextphrase.S2nowappearsintheTonic(223230),withitspedalpointplayedbyhorns
(withasyncopation)andpizzicatostrings.S1thenreappearsinthestrings,legatoforthefirsttime,whilethehorns
andclarinetscontinuethesyncopatedversionofthepedalpoint(231234).
S1isthenrepeated,tutti,withasuddentempomarkingofPresto,thephraseextendedto6bars
(235240).S3thenreappears,playedtwiceasbefore(241256),leadingagaintoS4withitsstrongcadential
emphasisonFmajor(257260).Thisisplayedasecondtime(261264)anditseemsasiftherewillbeafinal
resolutionofthecadenceontothetonicchordinafinalbar265butthisdoesnothappen.Instead,themusicleads

15

straightintothe4thmovement.

FourthMovement:Allegro

Tonickey:Fminor

Storm

Thefreestructureofthismovementisbestunderstoodintermsofaseriesofcontinuoussections,eachdefinedby
(a)melodic/thematiccontentand(b)tonalcentreandharmonicdirection.Thethemestendtobebrief,motiviccells
ratherthandevelopedmelodies,andthetonalcentrescoverawiderangeofcontrastingkeysmostofwhichare
closelyrelatedtotheTonic,exceptforanextendedpassageinAmajorandDmajor,whichareveryremoteindeed
fromtheTonic.VerylittleofthemusicisactuallyinFminor;thesenseofthiskeyasthehomekeyofthemovement
isachievedasmuchbyimplicationasbyexplicitmusicalstatements.BeethovenhimselfdescribedtheStormas
beingintwoparts,butitisnotclearexactlywhathemeantbythis.Themostobviousexplanationisthatthe
movementhastwomainclimaxes,eachofwhichbuildsupfromapassagethatisrelativelycalm.Thefirstclimax
(SectionsB,CandDintheanalysisbelow)followsonfromitsanticipationinSectionA.Thesecond(SectionsG,H
andI)ispreparedbySectionEandF.Theclimaxesthemselvesarequitelong,sustainedpassagesofaggressive
fortissimomusic,whichunderlinetheturbulentnatureofthemovementandtheimmensepowerofthiscataclysmic
storm,providingthemostcompletecontrastwiththeothermovementsthatitispossibletoimagine.

SectionA(bb120)

Dflatmajor,modulatingchromaticallytowardsFminor
MotifsM1,M2
TheexpectedperfectcadenceattheendoftheScherzodoesnothappen.Insteadthereisaverydramatic
interruptedcadence,withastarkchangeofdynamicfromfftopp.CellosanddoublebassesplayaunisonDflat,
tremolando,suggestingtherumbleofdistantthunder(12).The2ndviolinsthenenterwithMotifM1,apattern
ofquaversplayedstaccatoandrepresentingthefirstdropsofrain(3onwards).The1stviolinsplayMotifM2
abovethisinlegatocrotchets,arisingdiminished5thfollowedbyafallingsemitone.Thescaleincontrary
motionthatoccursinb7outlinesadiminished7thchordonDnatural,andthecellosanddoublebassesthen
repeattheirtremolandonote,thistimeasemitonehigherthanbefore,ontheDnatural,whilethecontrary
motionscaleisrepeatedbythe2ndviolinsandviolaswiththechordreinforcedbythewoodwind.Thereisa
crescendoandthedynamicrisestop.ThebassnotemovesupbyanothersemitonetoEflat(11),M1comesin
again(13)followedbyM2(15).ThebassnotemovesupanothersemitonetoEnatural(17)withthecontrary
motionscaleaboveit.Thechordisnowadiminished7thonE.Thedoublebassesseparatefromthecellosto
playapatternofrisingquavertriplets(1920),andthereisafurthercrescendo.Thissectionisdefined
harmonicallybytherisingchromaticnotesinthebassandbytheuseofdiminished7thchords.
SectionB(bb2132)
Fminor
MotifM3

Thefullfuryofthestormisunleashedinb21withachordofFminor,playedtuttiandff.Cellosanddoublebasses
playapatternofrisingsemiquaverquintuplets(morethunder).After2barsofthesustainedFminorchord,Motif
M3adescendingarpeggioofFminorisplayedby1stviolinsandviolas(2324),whilethequintupletpattern
continuesinthebassandthewoodwind,horns,trumpetsandtimpani(witharollthefirsttimeinthis
symphonythatthiseffecthasbeenused)sustainthechord.Theharmonymovesontoadiminished7thonG(25
28)andM3isrepeated(2728).Afurtherdiminished7thchordfollows(2932)onAnatural,andM3isrepeated
again(3132).ThischordmakesamodulationtowardsBflatminor.
SectionC(bb3340)

Bflatminor,movingthroughC,AflatandFtowardsDflatmajor
MotifsM4,M5

16

MotifM4,arisingarpeggiointhe1stviolins(33)withdetachedchordsinthewoodwind,hornsandtrumpets,
suggestsaflashoflightning.ThetremolandobassmovesupbyasemitonetoBnatural(34)withadiminished
7thchordaboveit,andM4isrepeated.ThechordofCmajoroccursinb35andMotifM5isplayedbythestrings
andbassoonsinunison(3536),andisthenrepeated,leadingtoAflat(37),F(39)andDflat(41):thesechordsall
liea3rdapartfromeachother.
SectionD(bb4155)
DflatCminor
MotifsM6,M4

ThedynamicchangesabruptlytoppandthecellosanddoublebassesplayMotifM6,asemiquaverpatternwhich
isbasedonaninversionofthefirstfournotesofM1.The2ndviolinsandviolasplayatremolandochord.M4
reappears(43)withasuddenfinthe1stviolins,amarkingoffpinthe2ndviolinsandviolasandasinglechord,
markedsf,inthewoodwindandhorns.Theharmonychangesontoadiminished7thchordonBnatural(45),
withM4again(47)presentedasitwasinb43.Thediminished7thchordtakesthemusictowardsCminor;the
tremolando2ndviolinandviolasplaythedominant7thchord(48),resolvingontoCminorinb49.Thenext
phrasebeginsasbefore(4950areequivalentto4142,butwiththeadditionofasecondtimpaniroll).M4
reappears(51)overadiminished7thchordonFsharp,andisthenrepeatedthroughthenextfourbars(5255).
Theharmonypresentstwoperfectcadences,inBflatmajor(5253)andCminor(54551);M4appearstwice(55),
increasingtheperceivedpaceofthemusicasthechordchangesfromCminortoa3rdinversionofadominant
7th(552)thatappearstobeleadingtothekeyofF.However,Beethovendoesnotallowtheexpectedresolution
tooccur.
SectionE(bb5661)

Amajor,movingtowardsDmajor
MotifM1
Insteadoftheanticipatedchord(the1stinversionofFmajor),Beethoveninsteadresolvesthedominant7thonto
amostunexpectedchordofAmajor.Thebrightnessofthiskeyaftersomuchdarkandthreateningmusic
suggestsatemporarylullinthestorm.AvariantofM1isplayedbythe1stviolins(itisstillraining,butless
heavily),withmoretremolandochordsinthe2ndviolinsandviolas(indicatingthatthestormhasnotyetrunits
course),andsustainedchordsinthewoodwindandhorns.Thepredominantdynamicisp.Themusicmoves
towardsDmajorwithadominant7thchord(57)andadiminished7thonG(5861).
SectionF(bb6277)

Dmajor,movingtowardsCminor
MotifsM6(abbreviated),M1,M2
Thetwobarsoftremolando2ndviolinsandviolas,pp(6263),representthedominant7thofDwithjustthetwo
notesAandG.WhenthechordresolvesontoDmajor(64)thedoublebasssemiquavers(anabbreviatedversion
ofM6)suggestyetmoredistantthunder.M1reappearsinthe1stviolins(6667),withavariantofM2inthe
clarinetandasurprisinglycheerfulaccompanimentfigureintheoboesandbassoons.Thechordchangestoyet
anotherdiminished7th,thistimeonFsharp(68),withtherisingsemiquaverquintupletpattern(firstheardat21)
moredistantthunderinthecellosanddoublebasses(6869).M1reappears(7071)withtheadditionofthe
1stflutein71,andthecheerfuloboeandbassoonaccompanimentfigurecomesagain.Thechordchangestoa
dominant7thonFnatural(7273),withM1nowextendedinthe1stviolins(7277),joinedbythe1stflutein73.
Therisingfigureinthebassoon,clarinetandoboes(7277)isavariantofM2.Thedominant7thresolvesontoa
chordofBflatminor(7475),andthechordthenchangestothedominant7thofC(7677).Thereisalong
crescendothroughoutthispassage.

SectionG(bb7888)
CminorDflatmajor
MotifM7

17

Thecrescendoreachesitsclimaxwithamarkingofff(78)asthestormreturnsinitsfullfury.AnewMotifM7,a
descendingscale4barsinlength,isheardinthecellosanddoublebassesthroughoutthissection(three
appearancesinall).Theupperstringsaccompanywithswirlingarpeggios,descendinginsemiquavers,withthe
lowestnoteofeacharpeggioemphasisedbyasfmarking,whilethewoodwindplaysustainednoteswith
syncopationsunderlinedbyfurthersf markings.Thepiccoloisheardforthefirsttime(82),itspiercingnotes
suggestingthewhistlingofthewind.ThechordschangefromGmajor(78)toAflatmajor(81),thenbywayofan
augmented6th(844)toBflatmajor(85).ThethirdappearanceofM7leadstowardsaperfectcadenceinDflat
major.
SectionH(bb8994)

Dflatmajor,movingthroughBflatminorandGflatmajor
MotifM5
M5isplayedbyunisonstringsasbefore(seebb3540),butthewoodwindaccompanimentisnowdifferent,
throwingstillmoreemphasisontothe2ndbeatofthebar,whichisfurtherunderlinedbysfmarkingsthroughout
theorchestra.Theharmonicprogression,asbefore,movesrapidlythroughchordswhichliea3rdapartfrom
eachother.
SectionI(bb95118)

Chromaticharmony,leadingeventuallytowardsBflatminor
MotifM8
Theharmonyinthissectionisthemostunstableofanysectioninthemovement.Itbeginswithadiminished7th
chordonEnatural,abovewhichappearsMotifM8arisingsemitonefollowedbyachromaticscaleinthe1stviolins,
joinedabarlaterbycellos(9598).Thisisanotherwayofrepresentingthehowlingofthewind,thestrengthofwhich
isshownbythecrescendothatbeginsasthescaledescendsandcontinuesasitrisesattheend;theriseoutlinesthe
intervalofanaugmented4thfromBflattoEnatural.Thesefourbarsarerepeated(99102).Therisingsemitone
fromthebeginningofM8isthendeveloped(103106),andthecrescendocontinues,shownbythemarkingof
sempre pi f(alwaysgettinglouder)inb103.Thebasspartdescendschromaticallythoughthesefourbars,reaching
adiminished7thonFsharpwhichbeginsasasyncopation,markedff,onthe4thcrotchetofb106.Thisisthe
ultimateclimaxofthestorm,anditisfurtherdefinedassuchbythefirstentryofthetrombonesandyetanother
timpaniroll.Cellosanddoublebassesreturntothepatternofrisingsemiquaverquintuplets.TheFsharpdiminished
7thisheldforfourbars(107110),movingontoadominantminor9thchordonFnatural(111112),whichresolves
ontoasecondinversionchord(Ic)inBflatminor(113).Thetexturegraduallyreduces(113118);therisingpatternin
thecellosanddoublebasses(nowingroupsoffoursemiquavers)occursineveryotherbar,alternatingwithasf
semibreve,formingadominantpedalpoint.Theuppermostnoteoverthispedalpoint(1stviolinsand1stflute)
descendsfromF(113)toEnatural(114),Eflat(115116)andDflat(117118).
SectionJ(bb119136)
Bflatminor
MotifM7

ThissectionbeginsasSectionG,butstartingfromanFmajorchord(theDominantofBflatminor).M7isagain
playedbythecellosanddoublebasses(threeappearancesagain),andthe1stviolinshavethedescending
arpeggios.Thesustained,syncopatednotesareinthebassoonsatfirst,thenintheclarinetsandfinallyinthe
clarinetsandoboes.Allthesfmarkingsarenowomittedandthemusicmakesadiminuendo.Thechords
changefromFmajor(119),throughanaugmented6thchord(1214)toGmajor(122)andAflatmajor(126).The
lastsixbars(130135)beginwithadiminished7thchordonBnatural(130131),resolvingontoadominant7thin
C(132135),whichresolvesinb136.Now,however,itisCmajorratherthanCminor(Cmajorbeingthe
DominantofFmajor),tobeginthepreparationfortheTonickeyofthefifthandfinalmovement.The
diminuendocontinues,indicatingthatthestormisfinallymovingawayintothedistance.
SectionK(bb137155)

CmajorastheDominantofF

18

MotifsM4,M6(abbreviated),M1(variant)
Afewmorerumblesofthunder(137,139,141and142)arerepresentedbythedoublebasssemiquaversand
timpanirolls,withafinalflashoflightningdepictedbyM4inthe1stviolins(140).Thispassage(137143)
establishestheCmajortonality,finallyresolvingontotheCchord(144145),markedpp,withevermoredistant
thunderrepresentedbytheabbreviatedversionofM6(previouslyheardin64)inthedoublebasses.M1
reappearsinavariantform,inthemajorandinaugmentation(1461501);thishasoftenbeenlikenedtothesun
comingoutagainafterthestormcloudshavedisappeared.Theverylastsoundsofdistantthunderareheard
(149,150and153)asthevariantofM1isrepeated.Anascendingscaleoverthedominant7thofCisplayedby
the1stflute,beginningthelinkthatleadsintothefifthmovement.

Fifthmovement:Allegretto

TonickeyF:major

ShepherdsSong.Joyful,gratefulfeelingsafterthestorm
INTRODUCTION(bb18)
Thelinkbetweenthe4thand5thmovementsiscompletedbythis8barintroduction.Asoloclarinetplaysa
repetitivemelodicfigure(14)thatsomecommentatorshaveclaimedtobederivedfromtheSwissRanz des
vaches(analphorntuneusedforherdingcattle).Thiseffectivelyestablishesthelilting6/8metreofthe
movement.Itisplayedoverabare5thintheviolas(CandG,playedonopenstringsgivingtheeffectofadrone),
whichcontinuesthedominantpedalfromtheendoftheStorm.Themelodypassestothehorn(58)andthe
cellosaddanotherbare5th(FandC),which,becausethesearestoppednotes,producesawarmersound.The
harmonyisunusualbecausetheviolanotescontinue,sothattherearetwosuperimposed5thsinthesebars(F,C
andG),delayingtheclearstatementonthetonicchorduntiltheGrisestoanAinb8.

EXPOSITION(bb955)
FirstSubject(bb931)
TheFirstSubjecttheme(A1)isplayedbythe1stviolins(916),accompaniedbysustainedharmoniesin
clarinets,bassoonsandviolas,withapizzicatobassplayedbythecellos.Themelodyisexactly8barslong;it
movestothesubdominantchordatitsmidpoint(12)andendswithaperfectcadence.A1isthenrepeated
inthe2ndviolins(1724),decoratedbyapatternofrising3rds(A2)inthe1stviolins(sometimesadjustedto
4thstofittheharmony)andrepeatedquaverchordsinclarinets,bassoonsandhorns.Thereisacrescendo
throughoutthissecondstatementofthetheme.
A1isrepeatedathirdtime(2531),withA1intheviolas,cellos,clarinetsandhorns.Theviolinsplaythe
accompanyingchordsinsemiquavertriplets(32).Thedynamichasrisentoff.
Transition(bb3241)
ThelasttwonotesoftheA1themeprovidethestartingpointfortheTransition.Theygenerateanewtheme
(T1)intheviolasandcellos(3233),whichistakenupbythe1stviolins(3435).Theaccompanimentfeatures
anarpeggiatedfigureinthe2ndviolins(3233),passingtoviolasandcellos(3435)atthepointwhere
woodwind,hornsandtrumpetsjoinintheharmonisationofthetheme.T1isdecorated(3637)intheviolas
andcellos,passingagaintothe1stviolins(3839).Theaccompanimentfollowsthesamepatternasbefore.
Thelast4notesofT1thenformthebeginningofanewidea(T2)(4041),whichisagainpassedfromviolas
andcellosto1stviolins.Atthispointtheexpectedmodulationtothedominantoccurs.
SecondSubject(bb42501)
TheSecondSubjecttheme(B1)islittlemorethananextensionoftheTransition.Itisadescendingfigure,
outliningthenewtonicchord(Cmajor)andisplayedbythe1stviolins(42),joinedbythe2ndviolinsinthe
secondhalfofthebar.Itthen(43)passestothecellos(withtheviolasinthefirsthalfofthebar),backtothe
1stviolins(44),outliningthedominant7thchord,andagaintothecellos(45).Adecoratedversion(B2)is

19

thendevelopedoutofthismusic(4649).
Codetta(bb50255)
Abriefcadentialphraseintheviolins(C1)isplayedtwice(502521).Thesecondtime,itisextendedby2bars,
tutti,recallingthemelodyfromtheIntroduction.
Itisclearthatthewholepassagefromb32tob55reallyformsasinglemusicalparagraphinwhichideasgrow
organicallyfromonetoanotherinanentirelylogicalway.Nevertheless,Beethovenkeepstothefamiliar
principlesofSonataForm,withthemodulationtothedominantinitsexpectedposition,followedbya
substantialpassageofmusicinthedominant.TheproportionsofthisExposition,however,arenotthoseofa
conventionalSonataFormmovement,inwhichtheTransition,SecondSubjectandCodettawouldbe
considerablylongerthantheFirstSubject.Here,bycontrast,theFirstSubjectis23barslong,andtheTransition,
SecondSubjectandCodettatogetherarejustonebarlonger(24bars).

DEVELOPMENT(bb56116)
Theharmonysettlesontochord1cofCmajorandthe1stviolinsrecallthemelodyoftheIntroduction,joinedbya
successionofsolowoodwindinstruments.Thehornthentakesupthemelody.Inthestringpartstheopen5ths
fromtheIntroductioncanalsobeheard.Arisingscaleinthe1stviolinsconfirmsamodulationbacktothetonic
(Fmajor):ThisrecallstheflutescaleinthelastbaroftheStorm,anditleadsintoacompleterestatementofA1
(6479).TherearevariousdifferencesfromtheExpositionstatement,however.Theaddedarpeggiatedfigurein
the2ndviolins(6471)isrelatedtothesimilaraccompanimentdetailintheTransition(3235).TherepeatofA1,
completewithitscrescendo,followsasbefore(72onwards),withA2againinthe1stviolins,andthearpeggiated
figurecontinuesintheviolas.A1isaltered(75),withaCinsteadofthenormalBflat,andtheharmonyremains
onthetonicchordinsteadoftheusualsubdominant.TheintroductionofanEflatinthemelody(76)beginsa
modulationtothesubdominantkey:thechordisnowthedominant7thofBflatmajor(7679),andA3returns
whentheclimaxisreachedattheffmarking.ThereisaperfectcadenceinBflat(79801).

Anentirelynewtheme(D1)isnowintroducedinclarinetsandbassoons,movingin6ths(8081)andthen
predominantlyin3rds(82onwards).Thearpeggiatedaccompanimentreturnsintheviolas.TheBnaturalsinthe
melody(8284)arechromaticnotes:thekeyremainsBflatmajor.TheharmonyrefersbrieflytoEflatmajor(87&
91),thenmodulatesviaanaugmented6thchord(93)intoDflatmajor(9495).Theexpectedperfectcadenceis
notfullyresolved,andtheharmonymoveson,throughBflatminor(97)intoCmajor,withaperfectcadence(98
99).Thebassriseschromatically(9598)throughthispassage.
AdevelopedversionofA1isintroducedinthecellos(99109),aboveapedalpointonCandwithanew
accompaniment,acounterpointofscalicsemiquavers,intheviolins.Thewoodwindjoininthestatementofthis
versionofA1,andthemusicreachesanotherffclimax(107).Whentheclimaxsubsides(109116)thefluteand
oboedemonstratethatwhatappearstobeanotherentryofthedevelopedversionofA1isinfactarepriseofthe
Introduction:thisrepriseisthereforeachievedwithgreatsubtlety.Thescaliccounterpointcontinuesthroughout
thispassage,eventuallyreducedtojustthedescendinggroupof6semiquaversthathadoriginallyappeared
quiteinsignificantwhenitwasfirstheardinb99.TheCpedalpointhascontinuedeversinceb99:thisformsthe
dominantpreparationforthemodulationbacktothetonic(Fmajor)thatisfinallyconfirmedatthestartofthe
Recapitulation.

RECAPITULATION(bb117163)
FirstSubject(bb117139)
Inanotherexampleofgreatsubtlety,BeethovendoesnotprovideanexactrestatementofA1.Instead,he
continuesthescalicsemiquaverwritinginthe1stviolinssothattheRecapitulationseemstogrowlogically
outoftheclosingpassageoftheDevelopment.Thefirstgroupofsixsemiquaversinb117isinfacta

20

retrogradeofthefirstsixnotesofthecounterpoint(compare1171with991toseeexactlyhowthisworks).
Thesemiquavermelody(A3)allowstheFirstSubjectthemetobeheardquitedistinctly,however(117124):
thenotesofA1occurinalmostexactlytheiroriginalpositionswithinA3,sotherelationshipbetweenthetwo
versionsofthethemeisneverindoubt.Anothernewaccompanyingfigureisinthe2ndviolins:thisis
derivedfromtheIntroductionmelody.A3passestothe2ndviolins(125132)andtherepeatedquavers
reappearinthewoodwind,butA2isomitted.Initsplace,the1stviolinsplaythenewaccompanyingfigure,
echoedbypizzicatoviolas.Thecrescendooccurs,asintheExposition,leadingtotheclimaxat133.A3is
nowplayedbyviolasandcellos,withthesemiquavertripletsasbeforeintheviolins.Thehornsnowplaythe
newaccompanyingfigure.Althoughthispassageisplayedbythefullorchestra,tutti,withadynamic
markingofff,thesoundofthemusicisnotaggressive(asitwasintheStorm),butwarmandradiant.
Transition(bb140149)
T1reappearsinviolasandcellos(140141)withthesamesemiquaveraccompanimentasbefore.The
semiquavers,however,nowsoundlikeacontinuationoftheconstantrunningsemiquaversthathavebeen
presenteversinceb99(infacttherehasbeensemiquavermovementofonekindoranotherinthestring
partsalmostcontinuouslysinceb70).T1passestothe1stviolinsasbefore(14243),thenbacktoviolasand
cellosinitsdecoratedform(144145).Insteadoftakingthisupin146astheydidintheExposition,the1st
violinsbeginT2,whichisnowextendedtoafull4bars(146149)andadjustedsothatitremainsinthetonic
(theBnaturalattheendof149suggeststhatthemodulationmaybeabouttohappen,butisactuallya
chromaticnote).
SecondSubject(bb1501581)
B1andB2followasintheExposition,butnowinthetonic.
Codetta(bb1582163)
C1isplayedtwice,asbefore,completewithits2barextension,butinthetonic.

CODA(bb164264)
ThelongCodahasadualfunction,actingbothasasecondDevelopmentandastheemotionalconclusionof
thismovementinparticular,andofthesymphonyasawhole.Itbegins,asdidtheDevelopment,withachord
ofIc(butnowinFmajor),andthe1stviolinsagainrecallthemelodyoftheIntroduction(164168).Themusic
modulatestowardsCmajor(from167).ThemelodyfromtheIntroductionpassestothe2ndviolins(169)witha
versionindiminutioninthe1stviolins,outliningthedominant7thofCmajor.Acrescendobegins(171)andthe
Introductionmelodypassestotheviolas(173)andcellos&doublebasses(175),withthesemiquavertriplets
fromb25in2ndviolinsandviolas.Thechordchangestothedominant7thofFmajor(173)andthedynamic
risestoff(177).A1returnsinthebassoonsandcellos,inunisonandwithoutharmonisation(177),droppingtoa
suddenpaftertwobars.A1istakenupimitativelybythe2ndviolins(183),referringbrieflytoGminorbefore
returningtoF(186).Afurtherimitativeentryinthe1stviolins(187)refersagaintoGminor,butagainreturns
immediatelytoF.Anothercrescendo(186190)leadstoabriefclimax,ff,withthesemiquavertripletsinthe
upperstringsandA1incellos&doublebasses.ThemusicmodulatestowardsC(195),withadiminuendotopp,
andA1entersinthe1stviolinswithA2in2ndviolinsandviolas(196).A1isextendedasanothercrescendo
begins(198)andtheharmonyreachesaperfectcadenceinC(199200).ABflatisaddedtothemelodicline
(202),turningtheCmajorchordintothedominant7thofF.AperfectcadenceinF(205206)comesatthe
pointwherethecrescendoculminateswithanotherbriefff.A3nowreturnsinbassoonsandcellos(206),
startingff,withanothersuddenpafteralmost2bars.ImitativeentriesofA3follow(violas210,2ndviolins211,
1stviolins215)andthemusicagainreferstwicetoGminor(212and216).WoodwindentriesofA1makethe
relationshipbetweenA3andA1evenmoreexplicit.Thepassagefrom206to218hasfollowedthesame
proceduresthatwereusedin177to189,thoughbasedonbothA3andA1ratherthanA1alone.Uptothispoint
(218),eachofthecrescendoshasledonlytoarelativelyshortff,butnowasustainedclimaxof12barsfollows
(219230),withrisingarpeggiosbasedonA1inthecellosanddoublebasses,andthesemiquavertripletsinthe

21

upperstrings(notatedinastandardabbreviatedform).From227thelowestnoteofthebassarpeggiosisF,
formingatonicpedalpointthatcontinuesthroughthediminuendo(231onwards).Thestringsthenplaya
serene,simplifiedversionofA1(237),markedsotto voce(meaningasquietlyaspossible,orbarelyaudible).
Thereisagentlecadentialphrase(241244).Thisisrepeated(245248),startingfbutendingp dolcewith
oboes,bassoonsandhorns(thewoodwindmakinganicelyjudgedcontrastwiththepreviousstringsonorities).
Asimplecadencefollows,repeatedthreetimesinall(249253),butthethirdtimethedominant7thchorddoes
notresolveimmediately,butisextendedtofivebars(253257),withacrescendotofandmorearpeggiosbased
onA1inthecellosanddoublebasses.Thecadenceresolvesontotwotonicchords(258259)andthetonic
harmonylastsnowforthefinal7barsofthemovement.A3makesafinalappearance,pp,takendownthrough
eachpartofthestringsectioninturn,whiletheIntroductionmelodyisrecalledbyasolohorn.Themovement
endswithtwotonicchords,ff,thewoodwind,hornand1stviolinsmakingafinalreferencetoatwonote
fragmentofA1.

22

23