SYMPHONY NO. 5 in C minor, Op.

67

DATE OF WORK: 1807 – 1808

MOVEMENTS: 4

The most popular symphony of all time, Beethoven’s symphony No. 5 in

C-, Op 67, is also the most concentrated expression of the spirit that we have
come to call Beethovenian.

First Movement:

Marked Allegro con brio (lively with vigor)

At the outset, the rhythmic idea of the 4 note motive that dominates the
symphony is heard. It is the most compact and commanding gesture in the whole
symphonic literature. The power of the movement springs from the most terrifying
single mindedness with which this idea is pursued. This dramatic sonata-allegro
ends with an extended coda in which the basic rhythm reveals a new fund of
explosive energy.

EXPOSITION

Theme 1, based on famous 4 note motive, in C-

Treated sequentially

Expanded from 4 note motive

Theme 2, more lyrical, in woodwinds, in E flat +, heard against the rhythm of 4

note motive

Coda, based on 4 note motive.

DEVELOPMENT

Beginning of development

Manipulation of 4 note motive through a descending sequence

Melodic variation, interval filled in and inverted

Expansion through repetition, leads into recapitulation

RECAPITULATION

Theme 1 in C-, brief oboe solo

Theme 2 returns in C+

Coda, Extended treatment of 4 note motive

Second Movement:

Marked Andante con moto; theme and variations form, with 2 themes, 3/8 meter,
A flat +

Beethoven serenity pervades the second movement, a theme and variations,

with 2 melodic ideas. In the course of the movement, Beethoven exploits his 2
themes with all the procedures of variation, changes in melodic outline, harmony,
rhythm, tempo, dynamics, register, key, mode, and type of accompaniment.

Theme 1, broad flowing heard in low strings

Theme 2, ascending 4 note motive

Variation on theme 1. Embellished with running 16th notes

Embellished with 32nd notes

Melody exchanged between woodwind instruments

Melody shifted to minor, more disjunct

Coda: piu mosso (faster) in bassoon

Third Movement:

Marked Allegro; scherzo and trio form, ¾ meter, in C-. This movement opens
with a rocket theme introduced by cello and double basses. Next, a humorous
trio in C+, the scherzo returns in a modified version, followed by a transitional
passage in which the basic rhythm of the first movement is sounded by the
timpani.

Scherzo theme rising, a rocket theme in low string

Recurrent rhythmic motive from the opening of movement

Trio theme in C+ in double basses

Trio theme broken up and expanded through squences

Scerzo theme returns, with varied orchestration

Transition to the next movement with timpani rhythm from opening 4 note motive

Fourth Movement:

Marked Allegro, sonata-allegro from, 4/4 meter, C+

The fourth movement, a monumental sonata form, once again brings back the
“Three shorts and a long.” This return of material from an earlier movement gives
the symphony its cyclical form. At the end of the extended coda, the tonic chord
is proclaimed triumphantly by the orchestra again and again.

EXPOSITION

Theme 1 in C+, power melody whose opening outlines the C+ chord

Lyrical transition theme, modulating from C+ to G+

Theme 2 in G+, vigorous melody with triplets

Codetta, features clarinet and violas

DEVELOPMENT

Much modulation and free rhythmic treatment; brings back 4 note motive from
first movement. Brief recurrence of scherzo.

RECAPITULATION

Theme 1 in C+
Theme 2 in C+
Coda, long extension