A graphic analysis of Beethoven’s nine symphonies
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A GRAPHIC ANALYSIS OF BEETHOVEN1S NINE SYMPHONIES
A T h e s is P re se n ted to t h e F a c u l t y o f t h e S c h o o l o f M usic The U n i v e r s i t y o f S o u th e r n C a l i f o r n i a
In P a r t i a l F u l f i l l m e n t o f t h e R e q u ir e m e n ts f o r t h e D e g r e e M a ste r o f A r ts
by Mary G o o d v in D a n i e l s A u g u st I 9 5 O
UMI Number: EP61900
All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion.
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H arry 3 -D euel, Dflte....A.ug:na£...l££iG
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STABLE OF CONTENTS CHAPTER I.
II.
PAGE
THE P R O B L E M .........................................................................................
1
S t a t e m e n t o f t h e p r o b l e m ....................................................
1
Im p o r ta n c e o f t h e s t u d y ....................................................
1
H i s t o r y and p r e s e n t s t a t u s o f t h e
1
p r o b le m
..
G en eral o r g a n iz a tio n
. . . . . . . .
.....................
2
C h a p te r o r g a n i z a t i o n
..............................................................
3
FORM ..................................... C h a rt I
D is tr ib u tio n
C h a rt I I
4 o f M ovement Form s
. . .
4
S y m b o ls U sed t o D e s i g n a t e E le m e n ts
.
D ia g ra m s o f A l l Form s U s e d ......................... C h a rt I I I
6
S o n a ta A l l e g r o .........................................
6
C h art IV
S o n a t i n a .............................................................
7
C h a rt V
Compound S on g F o r m ....................................
7
F i r s t R o n d o ....................................................
8
C h a rt V I C h a rt V I I
S e c o n d Rond o
C hart V I I I C h a r t IX C h art X III.
5
*
9
T h ir d R o n d o ..............................................
9
Rondo S o n a t a ....................................................
10
Theme and V a r i a t i o n s ...............................
10
METHOD OF PROCEDURE, SOURCES OFDATA, AND CRITERIA U S E D .............................................................................
12
P r o c e d u r e and s o u r c e s
12
C r i t e r i a .........................
.........................................................
13
ill CHAPTER IV .
V.
V I.
PAGE
SYMPHONY NO. 1 IN C MAJOR - OPUS 2 1 .........................
15
S u m m a r y .............................................................................................
15
F i r s t Movement
...................................
16
S e c o n d M ovement
• .
23
.
* ....................................................
T h ir d M o v e m e n t .........................
27
F o u r th M o v e m e n t ........................................................................
30
SYMPHONYNO. 2
IN D MAJOR - OPUS
3 6 ........................
34
S u m m a r y .............................................................................................
34
F i r s t M o v e m e n t .........................
35
S e c o n d M o v e m e n t ........................................................................
39
T h ir d M o v e m e n t .............................................................................
42
F o u r th M ovement
44
SYMPHONY NO. 3
. . . . .
..................................................
IN E FLAT MAJOR
.
48
S u m m a r y .............................................................................................
48
F i r s t M ovement
49
. . .
..............................................................
S ec o n d Movement T h ir d Movement
- OPUS 55
.
...................................................
55
.........................
58
F o u r th M o v e m e n t ........................................................................ V II.
SYMPHONYNO. 4
IN B FLAT MAJOR
- OPUS 60
. .
65
S u m m a r y .............................................................................................
65
F i r s t M o v e m e n t.............................................................................
66
S e c o n d M o v e m e n t ........................................................................
71
T h ir d M o v e m e n t .............................................................................
74
F o u r th M ovement
77
..............................................
.
.
62
. . . . .
iv
CHAPTER V III.
PAGE
SYMPHONY NO. 5 IN
C MINOR - OPUS 6 7 .............................
82
S u m m a r y .............................................................................................
82
F i r s t M o v e m e n t ..................................................................
.
83
...............................
87
T h ir d M o v e m e n t ........................................................................
90
F o u r th M o v e m e n t ......................... ..... ........................................
93
S e c o n d Movement .
IX .
.
.
.
SYMPHONY NO. 6 (THEPASTORAL)
.
.
IN F MAJOR -
OPUS 6 8 .............................. ..... ........................................................
97
S u m m a r y .............................................................................................
97
F i r s t M ovement
98
..........................................
S e c o n d M o v e m e n t ........................................................................
104
T h ir d M o v e m e n t ............................... .
...................................
108
..............................................
110
........................................................
I ll
A MAJOR - OPUS 9 2 .............................
114
F o u r th M ovement . . . . . F i f t h M ovement X.
.
SYMPHONY NO. 7 IN
.
.
S u m m a r y .................................................................................. ....
.
114
..........................................................
115
.......................................................
119
T h ir d Movement
...............................................................
123
F o u r t h M ovement
............................................................
127
F i r s t Movement S e c o n d Movement .
X I.
SYMPHONY NO. 8 IN
‘
.
F MAJOR - OPUS93
. . . . .
.
130
S u m m a r y ......................................... ...................................................
130
F i r s t Movement
131
S e c o n d Movement
.......................................... .............................................................
135
V
CHAPTER
PAGE T h ir d M ovement F o u r th Movement
X II.
X III.
. . . . . . . . . . . . . . .
137
. . . . . . . . .
139
SYMPHONY HO. 9 IN D MINOR - OPUS 1 2 5
. . . . .
143
S u m m a r y ................................................... - ....................................
143
F i r s t M o v e m e n t ........................................................................
144
S e c o n d M o v e m e n t .............................................................................
150
T h ir d M o v e m e n t ............................................................................
155
F o u r th Movement
157
............................................................................
CONCLUSIONS
. . . . .
BIBLIOGRAPHY...........................................................................................................
163 I 65
B o o k s ......................................................................... S c o r e s ............................................................................................ R e c o r d i n g s .................................................................................
1 66 I 67
TABLE OF THEMES AMD MOTIFS FIGURE
PAGE
1.
N o . 1 - I - A^ T h e m e ..............................................
16
2 .
N o . 1 - I - A2 Theme
.........................................................
16
3.
N o . 1 - I - B x T h e m e ...................................................................
17
4.
N o . 1 - I - Bg T h e m e ...................................................................
18
5.
N o . 1 - I - Bo T h e m e ...................................................................
18
6.
N o . 1 - I - Do T h e m e ...................................................................
19
7-
H o. 1 - I - D2 T h e m e ...................................................................
19
8.
N o . 1 - I I - Ax T h e m e ...................................................................
23
9.
N o . 1 - I I - Ag T h e m e ...................................................................
23
10.
N o . 1 - I I - B1 T h e m e ...................................................................
24
11.
N o. 1 - I I
24
12.
N o. 1 - I I -
and Dg T h e ® ® ...............................................
25
13.
N o . 1 - I I I - "A-^" Theme ( M i n u e t ) ....................................
27
14.
N o . 1 - I I I - “B j" Theme ( T r i o )
.....................
28
15.
N o . 1 - IV - Ax T h e m e ...................................................................
30
16.
N o . 1 - IV - A2 T h e m e ..................................................................
30
17.
N o . 1 - IV - s x M o t i f ..............................
31
18.
N o . 1 - IV - Bx T h e m e ...................................................................
31
19.
N o . 1 - IV - Bg T h e m e ...................................
31
20.
N o . 1 - IV - D Theme
...................................................
32
21.
N o . 1 - IV - s 2 M o t if . .
......................................................
32
22.
H o. 2 - I - s 1 M o t i f ..................................................
- Bg T h e m e ...................................................................
. ..
35
v li FIGURE
PAGE
23.
Wo. 2 - I -
24.
H o. 2 - I - Ag Theme
...........................................................
35
25.
N o . 2 - I - s 2 M o t i f ......................................................................
36
26.
N o . 2 - I - s 3 M o tif
36
27.
T h e m e ........................................................................ .
.................................................
N o . 2 - I - Bj_ T h e m e .............................................................
35
.
36
28.
N o . 2 - I - B2 T h e m e ......................................................................
36
29.
N o. 2 - I I
- Ax T h e m e ......................................................................
39
30.
N o.2 - I I
- A2 T h e m e .....................................................................
39
31.
N o.2 - I I
- A^ T h e m e .....................................................................
40
32.
N o . 2 - I I - BT h e m e ......................................................................
40
33-
N o . 2 - I I I - "Ax" Theme ( S c h e r z o ) ..................................
42
34.
N o . 2 - I I I - "Bx" Theme ( T r i o ) ............................................
43
35.
N o . 2 - IV - Ax Theme '.....................................................................
44
36.
N o . 2 - IV
- Az T h e m e .....................................................................
44
37.
N o . 2 - IV
- Bx T h e m e ....................................................................
46
38.
N o . 2 - IV
- b 2 M o t i f .....................................................................
46
39.
N o . 3 - I - Ax T h e m e .....................................................................
49
40.
N o . 3 - I - A2 T h e m e .....................................................................
49
41.
N o . 3 _ I “ A . T h e m e .....................................................................
50
42.
N o . 3 - I - Bx T h e m e ....................................................................
51
43.
N o . 3 - I - B3 T h e m e ....................................................................
52
44.
N o . 3 - I - B4 T h e m e ...............................................
52
45.
N o . 3 - I - D T h e m e ..........................................................................
52
46.
N o . 3 - I - D e v . C T h e m e ..........................................................
53
Vi 11
FIGURE
PAGE
47.
H o . 3 - I I - Ax T h e m e ....................................................................
55
48.
N o . 3 - I I - A2 T h e m e ...................................................
35
49 •
N o.3 - I I ~
56
50.
N o. 3 - I I
T h e m e ....................................................................
" Bg T h e m e .....................................................................
56
51.
N o . 3 - I I - C T h e m e ....................................
57
52.
N o.3 - I I I
58
53.
- "A1 ’’ Theme ( S c h e r z o ) ................................
N o . 3 - I I I - "Bj^ Theme ( T r i o ) ................................... ..
.
60
54.
N o . 3 - IV - B a s s Theme
.....................................
63
55.
N o . 3 - IV - V a r . I l l ....................................................................
63
56.
N o . 4 - I - s x M o t i f ...................................................................
66
57.
N o . 4 - I - Ax T h e m e ...................................................................
66
58.
N o . 4 - I - B j T h e m e ...................................................................
67
59.
N o . 4 - I - Bg T h e m e ...................................................................
67
60.
N o . 4 - I - D T h e m e ...................................
68
61.
N o . 4 - I - D e v . CT h e m e .......................................
68
62.
N o . 4 - I - D e v . ET h e m e ............................................................
68
63.
N o . 4 - I I - s x M o t i f ...................................................................
71
64.
H o . 4 - I I - A T h e m e ...................................................................
71
65-
N o . 4 - I I - Ag T h e m e ...................................................................
71
66.
N o. 4 - I I
72
67.
N o . 4 - I I - B2 T h e m e ........................................................
72
68.
N o . 4 - I I - C T h e m e ...................................................................
73
69.
N o . 4 - I I I - "A-^'
Theme ( P r i n c i p a l S o n g )
74
70.
N o . 4 - I I I - *Bj_"
Theme ( T r i o ) ...........................................
-
T h e m e ...................................................................
. . . .
75
ix
FIGURE
PAGE
71.
H o. 4 - IV
- Ax T h e m e .....................................................................
77
72.
H o. 4 - rv
- Ag T h e m e ................................
77
73.
H o. 4 - TV - A3 T h e m e .....................................................................
77
74.
H o. 4 - IV - Bx T h e m e .....................................................................
78
75-
H o . 4 - IV - Bg T h e m e .....................................................................
78
76.
H o. 4 - IV -
T h e m e .............................................................
.
79
77.
H o. 4 - r v - Dg T h e m e ....................................................................
79
78.
H o. 5 - I - Aj_ T h e m e .....................................................................
83
79.
H o. 5 - I - B x T h e m e .....................................................................
84
80.
H o. 5 - I - Bg T h e m e .....................................................................
84
81.
H o. 5 - I - D Theme
.....................................................
84
82.
H o . 5 “ I ~Oboe T h e m e .................................................................
86
83.
H o. 5 - I I
- Ax T h e m e ...........................
87
84.
H o. 5 - I I
- Ag T h e m e .....................................................................
87
85.
H o. 5 - I I
- A3 T h e m e .....................................................................
87
86.
H o . 5 - I I I - "Ax" Theme ( P r i n c i p a l S o n g )
87.
H o. 5 - I I I - "Bx” Theme ( T r i o ) ............................................
91
88.
H o . 5 - IV - Ax Theme .
................................................
93
89.
H o . 5 - IV - A3 T h e m e ....................................................................
93
90.
H o. 5 - IV - B], T h e m e .....................................................................
94
91.
H o. 5 - IV - Bg T h e m e ....................................................................
94
92.
H o. 6 - I - Ax T h e m e .....................................................................
99
93*
H o. 6 - I - Ag T h e m e ...................................................................
99
94.
H o. 6 - I - Bx T h e m e ....................................................
.
.
. . . .
90
100
X
FIGURE
PAGE
95.
N o . 6 - I -■ Bg T h e m e .....................................................................
100
96.
N o . 6 - I - B , T h e m e ..........................................
101
97.
N o . 6 - I - D T h e m e .....................................................................
101
98.
N o . 6 - I I - Ax T h e m e .................................................................
105
99.
N o . 6 - I I - AgT h e m e .................................................................
105
100.
N o. 6
- I I - B Theme
....................................................................
101.
N o . 6 - I I I - "Aj_" Theme ( P r i n c i p a l S o n g )
102.
N o.6 - I I I
.
108
- "B"^ Theme ( T r i o ) .....................................
109
103.
N o . 6 - V - Ag T h e m e .....................................................................
I ll
104.
N o . 6 - V - B Theme
I ll
105.
N o . 6 - V - C T h e m e ...............................................
112
106.
N o . 7 - I - s x M o t i f .....................................................................
115
107.
N o . 7 - I - s 2 M o tif
....................................
115
108.
N o . 7 - I - Ax T h e m e .........................................................
115
109.
N o. 7 - I - Ag T h e m e .....................................................................
115
110.
N o . 7 - I - Bx T h e m e .....................................................................
116
111.
N o . 7 “ I * Bg T h e m e .....................................................................
116
112.
N o . 7 - I - Dx T h e m e .....................................................................
117
113.
N o . 7 - I - Dg Theme .
.............................................................
117
114.
N o . 7 - I I - Ax T h e m e .................................................................
119
lip .
N o.7 -
I I - AgT h e m e .................................................................
119
116.
N o . 7 - I I - B xT h e m e .................................................................
120
117.
N o . 7 - I I - Bg T h e m e .................................................................
120
118.
N o. 7
.
.
106
.......................................................
- I I " C T h e m e ........................................................................
121
xl FIGURE
PAGE
119.
H o . 7 - I I I - "A-^" Theme ( P r i n c i p a l S o n g )
120.
N o. 7 - I I I
........................................
124
121.
H o. 7 - IV - s x M o t i f ..............................................................
127
122.
N o. 7 - IV - Ax T h e m e ..............................................................
127
123.
N o . 7 - IV - B . T h e m e ..............................................................
128
124.
N o . 7 ' IV - B
T h e m e ..............................................................
128
125.
N o . 8 - I - AX T h e m e ....................................................................
131
126.
N o . 8 - I - Ag T h e m e ...................................................................
131
127.
N o . 8 - I - Bx T h e m e ...................................................................
132
128.
H o. 8 - I - r»x T h e m e ..............................................
133
129.
N o . 8 - I - Dg T h e m e ...................................................................
133
130.
N o. 8 - I I
T h e m e ..............................................................
135
131.
H o . 8 - I I - Bx T h e m e ..............................................................
136
132.
H o. 8 - I I - B2 T h e m e ..............................................................
136
133.
N o . 8 - I I I - "A1 " Theme ( M i n u e t ) ..................................
137
134.
N o . 8 - I I I - "Bx" Theme ( T r i o ) ........................................
138
135.
N o . 8 - IV - Ax T h e m e ..............................................................
139
136.
N o . 8 - IV - Bx T h e m e ..............................................................
140
137.
N o . 9 - I - A2 T h e m e ...................................................................
144
138.
N o . 9 - I - Bg T h e m e ...................................................................
145
139.
N o . 9 - I - Be T h e m e ...................................................................
146
140.
N o.9 - I I -
"A"
150
141.
N o. 9 - I I -
"A" Theme ( T r i o ) ............................................
153
142.
N o . 9 - I I I - A T h e m e ..............................................................
155
- "Bx" Theme ( T r i o )
- A
Theme ( P r i n c i p a l S o n g )
.
.
.
. . . .
123
xii
FIGURE
PAGE
143.
N o . 9 - I I I - B Thera©
..........................................
155
144.
N o . 9 ~ IV ~ A Theme ( J o y T h e m e ) ...................................
157
145.
N o . 9 - IV - V a r . V I I .............................
160
1 46. 147.
N o . 9 " IV ~ 3 T h e m e ......................................................... N o . 9 - IV - V a r . IX .
.
162
......................................................
162
CHAPTER I THE PROBLEM S t a t e m e n t o f t h e P r o b le m ,
T h is s t u d y h a s a s i t s
p u rp o se th e p r e p a r a tio n o f a g r a p h ic , d e t a i l e d , and q u ic k ly c o m p r e h e n s ib le fo r m a l a n a l y s i s
o f t h e N in e B e e t h o v e n
S y m p h o n ie s . I m p o r ta n c e o f t h e s t u d y . is
I t p o s s ib le to fin d
N ow here i n t h e l i t e r a t u r e
i n a c o n c i s e fo r m , a v a i l a b l e a t a
g l a n c e , a l l o f t h e th e m e s o f a l l o f t h e m ovem ents i n d i c a t e d b y n o t a t i o n an d m e a su r e num ber i n t h e i r e x a c t c o n t e x t and p l a c e d a s co m p o n en t e le m e n t s o f t h e fo r m a l p a t t e r n s o f t h e m o v e m e n ts. H i s t o r y and p r e s e n t s t a t u s o f t h e p r o b le m , s tu d ie s o f t h is
No
s p e c i f i c n a t u r e an d s c o p e h a v e b e e n
p u b lis h e d . T he m o st im p o r t a n t w ork i n a n a l y s i s o f t h e B e e th o v e n S y m p h o n ie s h a s b e e n d o n e b y Edw in E v a n s^ i n h i s s c h o l a r l y tw o v o lu m e w o r k .
He h a s g i v e n many t a b l e s o f d i f f e r e n t
s o r t s , b u t t h e y a r e n o t s o g r a p h i c a l l y a s s e m b le d a s a r e th o se o f t h is stu d y .
T h ey a r e l e s s
r e a d i l y . a v a i l a b l e and
1 Edw in E v a n s , B e e t h o v e n 13 H ln e S y m p h o n ie s . F u l l y D e s c r i b e d an d A n a ly z e d . V o l s . I a n d IX (L o n d o n : W illia m R eeves B o o k s e lle r L t d ., no d a t e .
2 a r e i n t e r s p e r s e d w i t h much r e a d in g m a t t e r .
M oreover, th e
a n a l y s i s h a s e v e r y a p p e a r a n c e o f h a v in g b e e n d o n e fro m t h e sco re.
E v a n * s b ook c a r r i e s n o d a t e b u t h a s t h e ea rm a rk s o f
an o ld b o o k and w as p r o b a b ly c o m p ile d b e f o r e r e c o r d i n g s o f t h e sy m p h o n ie s w e r e a v a i l a b l e . S i r D o n a ld F r a n c i s T o v e y 1 h a s t o u c h e d upon t h e a n a ly s is
o f t h e f i r s t e i g h t sy m p h o n ie s i n a v e r y g e n e r a l and
i n c o m p l e t e m a n n er . and t h i s
He a n a l y z e d t h e N in t h in m ore d e t a i l
s t u d y p r o f i t e d b y many o f h i s
fin d in g s .
S i r G e o r g e G rove^ h a s made g e n e r a l c o m m e n ts, w h ic h , th o u g h o f t e n h e l p f u l , a r e c r i t i c a l r a t h e r th a n a n a l y t i c a l . T h is w ork w as w r i t t e n b e f o r e r e c o r d i n g s o f t h e sy m p h o n ie s w ere a v a i la b l e f o r s t u d y . G en eral o r g a n iz a tio n . as sta te d s e r ie s
in t h e t i t l e
o f c h a r ts.
The n a t u r e o f t h i s p r o j e c t
r e q u ir e s th a t i t
be p r e se n te d a s a
I t a l s o dem ands t h a t t h e q u o t a t i o n s o f
t h e th e m e s a p p e a r e x a c t l y w h er e t h e y o c c u r i n t h e f o r m a l d e s i g n o f t h e m o v em en t.
I t app ears l o g i c a l , a l s o ,
t o b e g in
e a c h sym phony w i t h a c h a r t suran&ry o f t h e f o r m a l a s p e c t s o f t h e w h o le , and th e n t o p r o c e e d t o d e t a i l e d c h a r t s o f t h e I n d i v i d u a l m ovem ents .
T h is p la n h a s b e e n f o l l o w e d
in
1 S i r D o n a ld F r a n c i s T o v e y , E s s a y s i n M u s ic a l A n a l y s i s . V o l s . I an d I I (L on d on : O xford U n i v e r s i t y P r e s s , Humphrey M ilfo r d , 1 9 3 5 ) . S i r G e o r g e G r o v e , B e e th o v e n an d H is N in e S y m p h o n ies (L o n d o n : N o v e l l o I 8 9 6 ) .
3 C h a p te r s IV t o X I I I n c l u s i v e . C h a n te r o r g a n i z a t i o n . c h a p te r , th e o r g a n iz a tio n
F o ll o w i n g t h i s
o f m a te r ia ls
In tr o d u c to r y
is as fo llo w s :
C h a p te r I I
C h a r t s sh o w in g ( 1 ) d i s t r i b u t i o n o f m ovem ent f o r m s , ( 2 ) fo r m a l s y m b o ls , an d ( 3 ) d ia g r a m s o f m ovem ent f o r m s .
C h a p te r I I I
M ethod s o f P r o c e d u r e , s o u r c e s o f d a t a , an d c r i t e r i a u s e d .
C h a p te r
IV t o C h a p te r X I I s y m p h o n ie s .
C h a p te r X I I I C o n c l u s i o n s .
The a n a l y s i s
o f th e n in e
CHAPTER I I FORM CHART I DISTRIBUTION OF MOVEMENT FORMS IN THE NINE SYMPHONIES M ovem ents S o n a ta A l l e g r o S o n a t in a Rondo S o n a ta Compound S o n g Form T h ir d Rondo S e c o n d Rondo ( w i t h d e v . ) Theme an d V a r i a t i o n s T o ta l
Number 17 i 1 9 A 1 A 37
CHART I I SYMBOLS USED TO DESIGNATE ELEMENTS OP FORM Sym bol
Theme
P a r t s o f Them©
A
P r in c ip a l
Al> A g , e t c .
B
S u b o r d in a t e
Bi '
D
C lo s in g ( i n S o n a ta A l l e g r o fo r m )
D^, D g, e t c .
C
( 1 ) seco n d s u b o r d in a te ( in a r o n d o )
B2 , e t c .
M o t i f s from Theme , ag$
, e tc •
b ^ , ^2 * ^3 , e t c . d^, d g,
, e tc *
More I m p o r ta n t them e th a n D; r e s e r v e d f o r m id d le s e c t i o n .
2) new th em e
i i n d e v e lo p m e n t o f a S o n a ta A l l e g r o fo r m ) E
S t i l l a n o th er new th em e In d e v e lo p m e n t
"A” a n d *B" W h ile e s s e n t i a l l y t h e sam e a s A an d B , "A" an d f,B w d i f f e r i n t h a t t h e y a r e c o m p le t e a n d in d e p e n d e n t e n titie s . U se d f o r S o n g an d T r i o , and So M o t i f s d e r i v e d fr o m s e c o n d a r y t h e m a t ic m a t e r i a l . x
An e l i s i o n o r a n o v e r l a p p in g o f m u s ic a l I d e a s , t h e en d o f o n e t h o u g h t b e i n g t h e b e g i n n in g o f a n o t h e r ; f o r e x a m p le , t h e l a s t b e a t o r n o t e o f t h e An them e may b e t h e f i r s t o f t h e Ag them e an d t h e e l i s i o n w o u ld b e m arked a s x A g .
DIAGRAMS OP ALL FORMS USED IK THE 31 MOVEMENTS OF THE NINE SYMPHONIES CHART I I I SONATA ALLEGRO* I n tr o d u c tio n ( O p t io n a l) E x p o s itio n A th em e T r a n s itio n p a ssa g e B th em e D them e (E x p o s itio n u s u a lly r e p e a ts) , C o d e tt a
in to n ic k e y . t o k e y o f s u b o r d i n a t e th e m e , i n d o m in a n t o r c l o s e l y r e la te d k ey . ( o p t i o n a l ) ; i n sam e k e y a s B. (o p tio n a l).
D e v e lo p m e n t Them es o r f r a g m e n t s o f th e m e s a r e d e v e lo p e d b y m o d u la t io n and r e p e t i t i o n and s e q u e n c e t h r o u g h many k e y s . F r e q u e n t ly c o n t r a p u n t a l t e c h n i q u e s a ls o are u sed . The d e v e lo p m e n t may o r may n o t c o n t a i n a new th e m e , C ( o r t h e m e s ) . R e c a p itu la tio n A R B D Coda
th em e e tr a n s itio n p a ssa g e them e th em e
(O p tio n a l)
in to n ic k e y . ( t o b a la n c e t r a n s i t i o n ) . in t o n ic k e y . ( o p t io n a l) ; in to n ic k e y . in
to n ic k e y .
N o t e i* By d e f i n i t i o n t h e a l l e g r o ( f a s t f i r s t m ovem ent) o f t h e s o n a t a ( f o u r m ovem en t) c l a s s i c a l fo r m . N o te :
The S o n a ta A l l e g r o w i t h M id d le Theme h a s a fo r m u la i d e n t i c a l w i t h t h e S o n a ta A l l e g r o a b o v e e x c e p t t h a t a m id d le th e m e , C , t a k e s t h e p l a c e o f t h e D e v e lo p m e n t s e c t i o n . T h is fo rm d o e s n o t o c c u r i n t h e B e e t h o v e n S y m p h o n ie s ,
CHART IV SONATINA I n tr o d u c tio n - (O p tio n a l) E x p o s itio n
A thorn© T r a n s itio n B them e D them e
in t o n i c k e y . t o k e y o f s u b o r d in a t e th e m e , in r e l a t e d k e y . ( o p t i o n a l ) ; in same k e y a s B .
R e tr a n s itio n B ack t o t o n i c k e y
t a k e s p l a c e o f d e v e lo p m e n t .
R e c a p itu la tio n A them e R e tr a n s itio n B them e D them e
in t o n i c k e y . ( t o b a la n c e t r a n s i t i o n ) . In t o n i c k e y . (o p tio n a l) .
Coda
( O p t io n a l)
N o te
N o t a l i t t l e S o n a ta A l l e g r o a s t h e name i m p l i e s , b u t a S o n a ta A l l e g r o w i t h o u t a d e v e lo p m e n t . CHART V COMPOUND SONG FORM
"A"
them e
M them e
"A11 them e R o te :
P r i n c i p a l S on g (A tw o o r t h r e e p a r t fo r m )
in t o n i c k e y .
S u b o r d in a t e Son g (A two o r t h r e e p a r t fo rm )
In r e l a t e d k e y .
P r i n c i p a l S on g
in t o n i c k e y ; r e t u r n s e n t i r e o r in p a r t .
In t h e B e e th o v e n S y m p h o n ies t h e fo rm o f t h e s e m ove m en ts i s u s u a l l y A -B -A -B -A w i t h a s e c o n d r e t u r n o f b o th s o n g s . T h e r e i s a l s o a f i v e p a r t so n g fo rm w i t h tw o t r i o s b u t I t d o e s n o t o c c u r i n t h e B e e th o v e n S y m p h o n ie s . The fo r m u la o f t h i s t y p e i s A -B -A -C -A .
HONDO FORMS R ondos a r e c h a r a c t e r i z e d b y t h e p e r i o d i c t h e A o r Rondo th e m e .
r e tu r n o f
They a r e a d e v e lo p m e n t o f t h e
Compound S on g F orm . CHART V I FIRST RONDO* A th em e
The Rondo Theme
in to n ic k e y .
B th em e
S u b o r d in a t e Theme
in r e la t e d k e y .
A th em e
The Rondo Theme
in to n ic k ey; r e tu r n s e n t ir e or in p a r t .
N o te :
The s i m i l a r i t y b e tw e e n t h e F i r s t Rondo and t h e Compound S on g Form (S o n g and T r io ) I s I m m e d ia te ly a p p a r e n t. T he d i f f e r e n c e b e tw e e n t h e s e fo r m s m u st b e p o i n t e d o u t a s b e i n g o n e o f c o n t i n u i t y r a t h e r th a n a r r a n g e m e n t o f th e m e s o r p a r t s . In t h e S on g an d T r io t h e s o n g s a r e d i s t i n c t and d i f f e r i n m anner an d m a t e r i a l and u s u a l l y i n k e y and a r e s e p a r a t e d b y a c o m p le t e c a d e n c e . In t h e F i r s t Rondo ( a s i n a n y R ondo fo r m ) t h e t r a n s i t i o n s a r e sm o o th and t h e c a d e n c e s ( i f t h e y e x i s t ) a r e c o v e r e d . The m a t e r i a l I s u s u a l l y n o t s o v a r i e d , s o m e tim e s b e i n g a r e w o r k in g o f t h e sam e m a t e r i a l . O fte n t h e c h a n g e o f k e y i s s im p ly t o m in o r o r m a jo r m ode, th o u g h o t h e r r e l a t e d k e y s a r e a l s o u s e d .
* N o t e : T hough t h e r e i s n o F i r s t Rondo m ovem ent i n t h e N in e S y m p h o n ies t h e T r io s e c t i o n o f t h e s e c o n d m ovem ent o f t h e N in th i s a n e n l a r g e d F i r s t Rondo fo r m .
CHART V I I SECORB RONDO A th em e T r a n s itio n B th em e R e tr a n s itio n A them e T r a n s itio n C th em e R e tr a n s itio n A th em e Coda N o te :
in t o n 1c k e y In k e y o f s u b o r d i n a t e th e m e . In a r e l a t e d k e y . back to to n ic k e y . in t o n ic k e y . t o k e y o f s e c o n d s u b o r d i n a t e th e m e , i n a m ore d i s t a n t l y r e l a t e d k e y . back to to n ic k e y . in to n ic k e y . ( o p tio n a l)
The o n l y S e c o n d Rondo o c c u r r i n g i n t h e B e e th o v e n S y m p h o n ie s I s t h e F u n e r a l March o f t h e E r o i c a . H ere B e eth o v en u s e s a m o d if ic a t io n b e s t d e s c r ib e d a s a S e c o n d Rondo w i t h D e v e lo p m e n t i n w h ic h a d e v e lo p m e n t s e c t i o n t a k e s t h e p l a c e o f o n e o f th e t r a n s it io n s . CHART V I I I THIRD RONDO
A them e T r a n s itio n B th em e R e tr a n s itio n A th em e T r a n s itio n C them e R e tr a n s itio n A th em e B them e A them e Coda N o te :
in to n ic k e y . in k e y o f s u b o r d in a te th e m e . in a r e la te d k e y . back to to n ic k e y . in to n ic k e y . t o k e y o f s e c o n d s u b o r d i n a t e th em e i n a m ore d i s t a n t l y r e l a t e d k e y . back to to n ic k e y . in to n ic key In t o n ic key in to n ic key ( o p tio n a l)
I n t h e Rondo fo r m s t h e A th em e i s f r e q u e n t l y a b b r e v i a t e d i n o n e o r m ore o f I t s r e t u r n s .
CHART IX RONDO SONATA A them e T r a n s itio n B them e R e tr a n s itio n A th em e D e v e lo p m e n t A th em e R e tr a n s itio n B th em e A. th em e Coda N o te ;
in t o n ic key* t o k e y o f s u b o r d i n a t e th e m e . in r e la t e d k e y . back to to n ic k e y . in t o n ic key* u s u a l l y o f A th em e • in t o n ic k e y . ( o p tio n a l) in t o n ic k e y . in to n ic k e y . ( o p tio n a l)
The Rondo S o n a ta c o m b in e s f e a t u r e s o f t h e S o n a ta A l l e g r o an d t h e Rondo f o r m s . I n p l a c e o f t h e m id d le o r C th e m e , i t h a s a d e v e lo p m e n t s e c t i o n , o f t e n a w o r k in g o u t o f t h e A o r Rondo t h e m e . CHART X THEME AND VARIATIONS
I n tr o d u c tio n Theme T r a n s itio n V a r ia tio n I T r a n s itio n V a r ia tio n I I T r a n s itio n V a r ia tio n I I I T r a n s itio n V a r i a t i o n IV C o n t in u e s t o l a s t V a r ia tio n
N o te :
( o p tio n a l) sta te m e n t In t o n ic k e y . may b e i n t o n i c o r r e l a t e d k e y ; a d d s h a r m o n ic e n r ic h m e n t .
u s u a lly
m ore e l a b o r a t e v a r i a t i o n ; o f t e n w i t h m e lo d y v a r i e d w i t h s c a l e o r a r p e g g i o fig u r e s . i n t o n i c m in o r o r m ore d i s t a n t l y r e la te d k e y . b e c o m e s m ore e l a b o r a t e an d m ore d i f f i c u l t t o r e c o g n i z e a s o r i g i n a l th e m e . u s u a l l y a r e s t a t e m e n t o f th em e i n t o n i c k e y w i t h f u l l h arm on y— s o m e tim e s In a ugmen t a t I o n ♦
T h is i s a v e r y g e n e r a l d ia g r a m and may b e d e v i a t e d fr o m g r e a t l y i n i n d i v i d u a l i n s t a n c e s . I n a Theme and V a r i a t i o n s w i t h a S e c o n d T hem e, t h e s e c o n d o r B th em e I s i n s e r t e d b e tw e e n som e o f t h e v a r i a t i o n s in p la c e o f a t r a n s i t i o n p a s s a g e - - o f t e n w ith a change o f k e y .
11
I t s h o u ld b e e m p h a s iz e d t h a t t h e f o r e g o i n g fo r m u la e a r e t h o s e o f I d e a l fo r m s w h ic h a r e r i g i d
in d e s i g n .
No
c o m p o se r c o n c e i v e s h i s w ork i n t h e i d e a l fo r m , h o w e v e r ; e a c h m o d i f i e s t h e fo rm t o e x p r e s s h i s
own p a r t i c u l a r
m u s ic a l m e a n in g . B e e t h o v e n w as a p i o n e e r i n e n l a r g i n g t h e f o r m a l p a t t e r n s o f t h e m u s ic o f h i s d a y -
He o v e r f lo w e d t h e
c o n v e n t i o n a l m old and a d d ed e n r ic h m e n t and e n la r g e m e n t th r o u g h m o d i f i c a t i o n .
CHAPTER I I I METHOD OF PROCEDURE, SOURCES OF DATA, AND CRITERIA USED P r o c e d u r e an d s o u r c e s . i n h e a r d m u s ic .
T h is w ork r e p r e s e n t s a s t u d y
The a n a l y s t s was made by s im u lt a n e o u s
s t u d y o f s c o r e and r e c o r d in g o f e a c h sy m p h o n ic m ovem en t. The s c o r e s u s e d f o r S y m p h o n ies N o . 1 , N o, 2 , and N o . 5 w e re t h e B o o s e y and Hawkes e d i t i o n . T h o s e N o. 3,
N o. 4 ,
sco res
fo r
N o. 6 , N o . 8 , and N o . 9 w e r e t h e P ro A rt
N o . 7 w as p u b l i s h e d b y M. B a ro n C om p any.3
of th e se sco res are c e r t if ie d a u th e n tic .
A ll
by th e p u b lis h e r s a s b e in g
The p ia n o r e d u c t i o n u s e d w as t h e O tto S i n g e r
arrangem ent
1
L udw ig van B e e t h o v e n , Sym & Qflx M • 1 l a c M gjor - 0jouj3 2 1 S xBBk on a I n * 2 d M ain x - Qrna In. $2JpJ\0JW. I n . 5. i n c H ln o r - Opus 6 1 (New Y ork - B o o s e y and H aw kes)
^ L udw ig van B e e t h o v e n , S s a s fa a r g l a - 1 l a Er Ma.jp£ - M g . 55.
Samfoopy- Ha*
%in
E? HaJLag - Qsas. M
s ympkPnY Ha- n l a E Malac - PB.ug. 58. agBBhgBZ In* 8 . l a E Major - Op.ua 91 In* a l a E Miami - Qpm 125 . (New Y ork - P ro A r t P u b l i c a t i o n s )
o J L udw ig van B e e t h o v e n ,
SmnkQax In . 1 la & Malnr - -Onus £2 (New Y ork - M. B aron and Company)
^ O tto S i n g e r , B e e t h o v e n S y m p h o n ies f o r t h e P ia n o V o l . I and V o l . I I (New Y o r k , 0 . S c h ir r a e r , I n c . )
13 S in e © t h i s
i s n o t a stu d y o f in t e r p r e t iv e v a lu e s ,
r e c o r d i n g s w e r e c h o s e n i m p a r t i a l l y fro m p e r fo r m a n c e s d i r e c t e d b y T o s c a n i n i , K o u s s e v e t s k y , B eech a m , W a lt e r , and Ormandy. F u r t h e r s o u r c e i n f o r m a t i o n may b e fo u n d i n t h e B ib lio g r a p h y . C r ite r ia .
In d e c i d i n g up on t h e fo rm o f a m ovem ent
o r o f s e c t i o n s w i t h i n t h e m o v em en t, c e r t a i n c r ite r ia
m u st b e a d h e r e d t o .
sta n d a r d s o r
The f o l l o w i n g h a v e b e e n u s e d
th ro u g h o u t t h e s e a n a l y s e s : I
II
I ll
T ype o f T h e m a tic M a t e r i a l T he f i r s t and s e c o n d s u b j e c t s , f o r e x a m p le , a r e d i s s i m i l a r e n o u g h In t h e m a t ic s t r u c t u r e t o s e p a r a t e th e m . T yp e o f T r e a tm e n t o f T h e m a tic M a t e r ia l S e c t i o n s may c o n c e i v a b l y b e c o n s t r u c t e d o f t h e sam e m a t e r i a l b u t t h e t r e a t m e n t o f t h e m a t e r i a l may b e s o d i f f e r e n t , h a r m o n i c a l l y , r h y t h m i c a l l y , o r d y n a m ic a lly , a s t o c a u se a d i s t i n c t s e p a r a t io n b e tw e e n t h e s e c t i o n s . I n d iv id u a lit y o f S e c tio n s 1 . I n d i v i d u a l i t y a s a p p l i e d t o t h e t h e m a t ic m a t e r i a l and t r e a t m e n t . (A i s a n e n t i t y q u i t e d i s t i n c t fro m B ) . 2 . I n d i v i d u a l i t y a s a p p l i e d t o t h e u s e o f p r im a r y and s e c o n d a r y m a t e r i a l . (O ne s e c t i o n may b e p r im a r y o r t h e m a t ic m a t e r i a l w h i l e a n o t h e r may b e l a r g e l y s e c o n d a r y m a t e r i a l o f d e v e lo p m e n t a l or t r a n s it io n a l n a tu r e . S u ch s e c o n d a r y m a t e r i a l may b e c o n s t r u c t e d o f f r a g m e n t s o f t h e m a t ic m a t e r i a l u s e d a s c h a i n p h r a s e o r s e q u e n c e .)
14 IV
V
M ajor an d M in or B r e a k s M ajor b r e a k s , d e c i s i v e c a d e n c e s , c a d e n c e t h e s e o c c u r b e tw e e n t h e l a r g e d i v i s i o n s . m ore d i f f i c u l t t o d e c i d e w h ere t h e m in o r c o v e r e d an d s e m i c a d e n c e s , c o m e . It is t o know w h e th e r t h e fe w b a r s i n q u e s t i o n th e f o r e g o in g o r s u c c e e d in g s e c t i o n .
p au ses: I t is b reak s, im p o r ta n t b e lo n g to
B a la n c e A l l t h e s e d e c i s i o n s m u st b e f o r m u la t e d on t h e b a s i s o f a s t r o n g f e e l i n g f o r t h e b a l a n c e o f t h e w h o le m o v em e n t.
CHAPTER IV SYMPHONY NO. 1 IN C MAJOR - OPUS 2 1 SUMMARY F i r s t M ovement - S o n a ta A l l e g r o - 2 9 8 b a r s In tr o : Ex p o ; 97 R e ca p ; 82
12 b a r s A 29 A 21
T ran s. 11
B 36
xD 22
D ev: 68 b a r s
R e tra n s. 7
B 36
xD 19
Coda 39 b a r s
S e c o n d M ovement - S o n a ta A l l e g r o
- 195 b a rs
Ex p o ; 70
A 26
B 27
xD 12
C o d e tta 6
D ev; 30 b a rs
R ecap: 85
A 26
B 27
xD 9
C o d etta 4
Coda 30 b a r s
T h ir d M ovem ent - Compound S o n g Form - 137 b a r s T r io 3 p a rt son g 58
M in u e t 3 p a r t son g 79
M in u et 3 p a r t so n g 79
F o u r t h M ovement - S o n a ta A l l e g r o - 3 0 4 b a r s In tr o ; Ex p o : 94
6 bars A 32
T ran s. 18
xB 31
P 11
C o d etta 3
D ev: 62 b a r s
R ecap ; 104
,A 25
R e tr a n s . 5
xB 35
D 11
C o d e tta 29
Coda 38 b a rs
SYMPHOITY WO. 1 IN C MAJOR - OPUS 2 1 F i r s t Movement - S o n a t a A l l e g r o In tro d u ctio n E x p o sitio n Theme
- A dagio m o lto
- 12 b a r s
- A lle g r o con b r i o
Key
B ars
- 298 bars (1-12)
- 97 bars
In s tru m e n t of announcement
( I 3 -IO 9 ) T reatm en t
A group
C
29 (1 3 -4 1 )
Al
C
21 ( 13- 3 3 )
F ir s t v io lin s
G iven o u t t h r e e t im e s ; C m a j . D m in . and C raaj. The f i r s t and second a r e f i v e b a r s each w ith a t r a n s i t i o n b a r fo llo w i n g . . The l a s t i s 9 b a r s , f r a g m e n ta r y and m o d if ie d .
9
F irst v io lin s
E lisio n
xA/
( 3 3 ~^l)
of th ree b e a ts .
P ll t$ro COh Vns-J
dl\
---------
d Z '
Alcfl .13
lb"
m si r
wa fa t A lei.33
-e «/
N o. 1 - I - E x p o s it io n c o n tin u e d Theme
K ey
B ars
T r a n s itio n
11 (4 1 -5 2 )
B group
G
36 ( 52-8 8 )
Bi
G
8
( 52- 6 0 ) BX
G
In str u m e n t o f ann ou n cem en t
T r e a tm e n t S e q u e n tia l tr e a tm e n t o f fr a g m e n t a r y m o t i f s a i and &2 *
Wood v i n d s
C a n o n ic ; a p e r io d m o d u la tin g t o D m a j .
V io lin s , f l u t e s and o b o e s in d ia lo g u e
Added h a r m o n ic e n r ic h m e n t •
8 (6 0 -6 8 )
18 H o. 1 - I - E x p o s it io n c o n tin u e d Theme
K ey
B ars I n s tr u m e n t o f _________ a n n o u n c emen t
T r e a tm e n t
9 ( 69-7 7 )
V io lin s , f l u t e s , and o b o e s
A p e r io d .
xB^
G m in
12 (7 7 -8 8 )
B assoon s, c e l lo s , and c o n t r a b a s s e s
F r a g m e n ta r y and m o d ifie d .
xB^
G m in .
10 (7 9 -8 8 )
O boes j o i n e d b y b a ssoon s
E n t e r s on t h i r d b a r o f B^ and c o n tr a p u n ta lly t r e a t e d w ith
F;
V ~ \
r~w .--* ... . ri1 n^~r k r r X;. j JJ 6 m jj = fff£ ir ig &V — s* —- - t—
■
—
-......
T^-9
* One f l u t e
o n l y I s u s e d i n t h i s m o v e m e n t.
2k
N o. 1 - I I Theme
- E x p o s it io n c o n tin u e d In str u m e n t o f announ cem en t
K ey
Ba r s
C
27 (2 6 -5 3 )
B group
16
B-
(2 6 -4 2 ) 12 (4 2 -5 3 )
xB,
V . y i i s T
....
mas- T?* j >
..
T x » } i P - i k /• te a i
3
-
I w .ff r -y-\* -
F ir s t v io lin s
T w e lv e b a r p h r a s e g r o u p g o i n g fr o m C m a jo r t h r o u g h A m in o r t o C m a jo r an d a g a i n fr o m C m a jo r t h r o u g h A m in o r and G m a jo r t o C m a jo r .
F~-
:?*t
y - f a a a S
—
7
p
i
|7
^
k
j *
)
2
—
( jt4
E ach 8 b a r s e c t i o n b e g i n s i n D m in o r and en d s in C m a jo r .
v
r " V ~______ V - -
—
■
f
~
e
=
7
....... 3
.....
" p :
1
^
0
i :
F i r s t , th en seco n d v i o l i n s
fY K
. 1. . . . . . . . . . .
iO
T r e a tm e n t
-
4
fir — -
d
-
—
...........1 1 ................................... .........................................
1
“
3
\
V
-
- - f r .... r
.... .............................. —
.......................
^ 'i i r - c
r -
-ar“
"
25 N o . 1 - I I - E x p o s i t i o n c o n c lu d e d and D e v e lo p m e n t Theme
K ey
B ars
In str u m e n t o f a n n o u n ce m en t
T r e a tm e n t
xD g r o u p C
12 (5 3 -6 1 * )
XDX
C
9 (5 3 -6 1 )
T ym pani
A d o t t e d r h y th m ic f i g u r e i n t h e ty m p a n i.
XD2
C
11 (5 4 -6 1 * )
F ir s t v io lin s , th e n d o u b le d an o c t a v e a b o v e In th e f l u t e .
In c o u n t e r p o i n t w i t h drum f i g u r e ; l a s t 3 b a rs a r e c a d e n t la 1 e x te n s io n .
6 C o d e t ta M o d u la te s ( 6 5 - 7 0 )
M o d u la te s th r o u g h C m in o r e n d in g i n c a d e n c e i n A® m a jo r , w h ic h "becomes d o m i n a n t o f k e y i n w h ic h d e v e lo p m e n t b e g i n s .
E x p o s itio n r e p e a ts e x a c t ly *
Vyi2 p a . ..ft D e v e lo p m e n t - 30 b a r s
(7 0 -1 0 0 )
D e v e lo p m e n t I s b y m o d u la t io n t h r o u g h many k e y s o f m o tifs
(th e d o tte d
T he r h y th m ic f i g u r e
r h y th m ic f i g u r e ) an d
and b^ m a in ly
I s p i c k e d up b y t h e s t r i n g s
i n m e a su r e
7 1 an d c o n t i n u e d th r o u g h many m o d u la t io n s u n t i l I t
is
resu m ed b y t h e ty m p a n i I n C m a j o r , b a r s 8 1 - 8 9 ; c o n t i n u e d t r u m p e t s i n b a r 9 1 , and I s c a r r i e d on b y s t r i n g s and wood w in d s t o R e c a p i t u l a t i o n .
in
26
N o. 1 - I I - R e c a p itu la tio n
- 65 b a r s
Theme K ey B ars In str u m e n t o f __________ ' _____________ an n o u n c em en t A group
P
(I O O -I 6 5 ) T r e a tm e n t
26 (1 0 0 -1 2 6 )
A*
F
11 ( 100- 111)
Second v i o li n s
B ars 1 0 1 -1 0 4 c o n t r a p u n ta l tr e a tm e n t w ith s c a l e p a s s a g e s ; much e m b e l l is h m e n t ; c a n o n ic
Ax
P
8 (112- 119)
F l u t e and oboes
Same t r e a t m e n t a s above
A2
P
7 ( 119- 126)
V i o l i n s and flu te
E nds on d o m in a n t .
B group
F
27 (1 2 6 -1 5 3 )
B-,
F
16 (1 2 6 -1 4 2 )
F ir s t v io lin s
E a ch 8 b a r s e c t i o n b e g i n s i n C m a jo r and g o e s t h r o u g h G m in o r t o F m a j o r .
xB,
F
12 (1 4 2 -1 5 3 )
S tr in g s
M o d u la te s fro m F m a jo r th r o u g h D m in o r and b a c k t o J? m a jo r i n 1 5 3 .
T ym pani
D om in an t p e d a l ; d o t t e d r h y th m ic f i g u r e
F ir s t v io lin s j o in e d by f l u t e s in upper o c ta v e
D i u n d e r lie s t h is th e m e .
xD g r o u p F
( 153- 161) xD^
F
9
( 153- 161) jcDg
P
8 (1 5 4 -1 6 1 )
C o d etta
4 (1 6 1 -1 6 5 )
C a d e n tia l c h o r d s .
Coda
30 ( 165- 195)
U s e s d i and e la b o r a t e s A group
27 No* 1 - T h ir d M ovem ent - M in u e t an d T r io - 1 3 7 b a r s Compound S o n g fo r m - T h r e e P a r t P r i n c i p a l S o n g - l!A" M in u e t i n C M a jo r - 7 9 b a r s T h r e e P a r t S on g A l l e g r o m o lt o o v i v a c e Them e
K ey
B ars
In str u m e n t o f a n n o u n ce m en t
(1 -7 9 )
T r e a tm e n t
8
S tr in g s
P e r io d r e p e a t e d ; m o d u la te s t o G m a jo r .
36
V io lin s
(l)
(1 -8 )
(8-W)
8 b a r p e r io d ( 8 - 1 6 ) b e g in s I n A® an d m o d u la te s t o C m a jo r and C m in or* ( 2 ) 9 b a r p e r io d ( 1 6 - 2 5 ) b e g i n s i n Ab an d e n d s i n D b* 8 b a r p e r io d (2 5 - 3 3 ) in D * 11 b a r p h r a s e g r o u p (3 3 ~ * l4 ) m o d u la t e s t o C .
IB *1
C
35 , (^ -7 9 )
F ir s t v io lin s
( 1 ) A 1 6 b a r d o u b le p e r i o d o f w h ic h f i r s t 8 b a r s a r e q u o t a t i o n o f A^ {* 1 4 -5 2 ); l a s t 8 b ars u se s im ila r ' m a te r ia l. ( 2 ) A p h r a s e g r o u p o f tw o 6 b a r an d o n e 7 b a r p h r a s e s a l l i n C m a jo r ( 6 0 - 6 6 ) , ( 6 6 - 7 2 ) an d ( 7 2 - 7 9 ) *
Ag an d A^ a r e r e p e a t e d t o g e t h e r
CT46&.
28 H o. 1 -
III
- M in u e t an d T r i o c o n t i n u e d
S u b o r d in a t e S o n g - W B ” T r io i n C M ajor * 58 b a r s ( 7 9 ~ 1 3 7 ) T h ree F a r t Song Theme
K ey
B ars
In str u m e n t o f
T r e a tm en t
_________
B-
2^ (7 9 -1 0 3 )
Wood v l n d s , h o r n s , and v i o l i n s in d ia lo g u e
A p h ra se group o f 3 lo n g p h r a s e s : ( 1 ) 8 b a r p h ra se in t o n i c 0 m a jo r (7 9 -8 7 ) ( 2 ) 9 b a r p h r a se in s u b m e d ia n t g o i n g t o s u p e r to n ic in l a s t h a l f a n d e n d in g i n d o m in a n t c a d e n c e (8 8 -9 6 ) ( 3 ) 7 b a r p h r a s e modu l a t i n g t o d o m in a n t k e y G m a jo r ( 9 6 - 1 0 3 )
B,
18 ( 103- 121)
Wood w i n d s , h o r n s , and v io lin s
(1 ) 9 b ar p h rase ( 103- 112) ( 2 ) 9 b ar p h rase ( 112- 121)
Bl
16 (1 2 1 -1 3 7 )
C l a r i n e t s an d More o r l e s s f r e e q u o ta v i o l i n s in tio n o f b e g i n n i n g on d ia lo g u e la s t beat of 121*
Trio -eM
O tt o S i n g e r , B e e t h o v e n S y m p h o n ie s f o r t h e P l a n o . V o l . I (New Y o r k ; G . S c h ir m e r . P . 1 5 .)
29 N o. 1 - I I I
- M in u e t an d T r i o c o n c lu d e d
P r i n c i p a l S o n g "A*1 M in u et In C M ajor - 7 9 b a r s T h r e e P a r t S on g Theme Ai
K ey C
B ars 8
In str u m e n t o f announcem ent S tr in g s
T r e a tm e n t E xact but
(1 -8 ) G At
C
(1 -7 9 )
36 (8 -4 4 )
V io lin s
As a b o v e .
35 (4 4 -7 9 )
F ir s t v io lin s
As a b o v e .
n o t r e p e a te d .
30 N o . 1 - F o u r t h M ovem ent - S o n a ta A l l e g r o - 3 0 4 b a r s I n tr o d u c tio n E x p o s itio n Theme A group
- A d a g io - 6 b a r s ( 1 - 6 )
- A l l e g r o m o lt o e v i v a c e - 94 b a r s ( 6 - 1 0 0 )
K ey
B ars
C
32
T r e a tm e n t
In str u m e n t o f an n ounc em en t
( 6- 3 8 ) 16
F ir s t v io lin s
D o u b le p e r i o d ; f i r s t p e r i o d m o d u la t e s t o G; secon d r e tu r n s to C .
8 (22- 30)
B e g in s i n f i r s t v i o l i n s ; ta k e n o v e r by f l u t e s and b a s s o o n s
A p e r io d .
r3
8 (3 1 “3 8 )
V i o l i n s an d wood w in d s
D ia lo g u e .
T rans
18 (38- 56)
F ir s t v io lin s
U tiliz e s m o tif a n d i n v e r s i o n o f a,\
( 6- 2 2 ) A2
ai
-* 'ji..i r - f E i 1 ^ LJ U la
, m t r f r f i g
■,i;^
A. i * f f ■£&=*= w —
t +
j ^j riq.
a n d A-^ r e p e a t t o g e t h e r .
1 O tto S i n g e r , o n . c i t . V o l . I , p . 4 2 .
43 N o . 2 - I l l - S u b o r d in a t e S o n g BBM T r i o D M ajor 4 6 b a r s T h r e e P a r t S on g (8 5 -1 3 0 ) K ey
B ars
Bl
D
8 (8 5 -9 2 )
O boes and b assoon s
An 8 b a r p e r i o d p e a te d .
=2
D
16 (9 3 -1 0 8 )
V io lin s
A 16 b a r p e r io d .
B1
D
22 (109- 130)
O boes an d b asso on s; s tr in g s com e i n .
A q u o t a t i o n an d e l a b o r a t i o n o f B i h a v in g th e l a s t 6 b a rs e x te n s io n a fte r cadence.
Theme
In str u m e n t o f announcem ent
T r e a tm e n t re
i m
4
i
i M
i
E
P r i n c i p a l S o n g "A” S c h e r z o - D M ajor 8 4 b a r s ( 1 - 8 4 ) T h r e e P a r t S on g Theme A1
K ey
Ba r s
D
16 ( 1- 16)
*2
xA i
D
In str u m e n t o f ann oun cem en t
T r e a tm e n t E x a c t; n o t r e p e a t e d .
23 (1 7 -3 9 )
S t r i n g s an d f l u t e s In d ia lo g u e
E x a c t; n o t r e p e a te d .
46 (3 9 -8 4 )
H o rn s, th e n v io lin s
E x a c t; n o t r e p e a t e d .
H o . 2 - F o u r t h M ovem ent - Hondo S o n a ta - 4 4 2 b a r s A l l e g r o m o lt o Theme K ey B are In str u m e n t o f T r e a tm e n t ____________________________ a n n o u n c em en t_______________________ A group
D
52 ( 1- 5 2 )
A1
D
12 ( 1- 1 2 )
A2
D
a3
D
fU
A b i n a r y fo r m . F l u t e s and f i r s t v io lin s p o i n t e d up b y o b o e s an d b a ssoon s
A 12 b a r p e r i o d .
13 ( 12-25)
Wood w in d s an d horns
A p h r a s e g r o u p o f tw o 4 and one 5 b a r p h r a s e s ; m o d u la t e s t o d o m in a n t k e y .
27 (2 6 -5 2 )
C e llo s
Two 13 b a r p e r i o d s ; la s t bar tr a n s itio n a l.
45 N o . 2 - IV - Rondo S o n a ta c o n t i n u e d Theme
K ey
acB g r o u p A XBX
A
B ars
16
A m in .
B,
m in* D
T r e a tm e n t A b i n a r y fo rm
56 v (5 2 -1 0 7 ) C l a r i n e t s and b asso on s, jo in e d by oboes
A p e r io d ; c a n o n ic tr e a tm e n t o f b ^ .
(6 8 -8 3 )
F lu te s , c la r in e ts , and b a sso o n s
A 16 b a r p e r i o d m odu l a t i n g th r o u g h A m in ., C ma j . , and D m in . ; e n d in g i n A m a j o r .
14 (8 4 -9 7 )
F l u t e s , o b o e s , 14 b a r s s e c o n d a r y an d b a s s o o n s m a te r ia l u sed f o r e x te n s io n .
10 ( 98- 107)
V io lin s
(5 2 -6 7 )
B-i
In str u m e n t o f ann oun cem en t
16
12 (1 0 7 -1 1 9 )
S e q u e n tia l
F i r s t v i o l i n s ; F i r s t 8 b a r s in D flu te s , m a jo r ; l a s t 4 b a r s o b o e s an d D m in o r , b a ssoon s a d d in g c o l o r .
in
D ev.
46 (1 1 9 -1 6 5 )
D e v e lo p m e n t o f m o t i f s a i , a 2 * b i > and b2 t h r o u g h many k e y s .
R e tr a n s.
19 (1 6 5 -1 8 4 )
U s e s a^ m o t i f .
46 Ho* 2 - 1 7 - Rondo S o n a t a c o n t i n u e d Them©
In str u m e n t o f ann oun cem en t
K ey
B ara
A group
T>
52 (1 8 4 -2 3 6 )
A1
D
12 (1 8 4 -1 9 6 )
F ir s t v io lin s
*2
B
13 (196-209)
F ir s t v io lin s
a3
D
27 (2 1 0 -2 3 6 )
C e llo s
et Iwd
D D m in* D
b2
B3
13v
A 13 b a r p e r i o d e n d in g i n G; a 13 b a r p e r i o d e n d in g i n D m a j o r .
58 (2 3 6 -2 9 3 )
group
BX
T r e a tm e n t
F # m in .
17 (236-2 5 2 )
H o r n s an d oboes
15 (25 2 -2 6 7 )
H o rn s, b a s s o o n s , and f l u t e s
14 (2 6 8 -2 8 1 ) 12 (2 8 2 -2 9 3 )
E nds i n D m in o r ,
14 b a r s o f e x t e n s i o n . Vi o l i n s
£b
Sequ en t i a 1 *
bz1 'V.Jp ----------1 fltdlS4 1 J 1
i s
" l ° ....... . --
1 * v fe -3 — -- ------ , /
ri
O tto S i n g e r ,
o p■
c l t ■, V o l . I , p
W ==
47 H o . 2 - IV - Rondo S o n a t a c o n c l u d e d Theme
Key " B a r s _____________
A group
D
*i
D
Ai
D D
a3 Coda
In stru m en t o f announcem ent
T reatm en t
29 (293-322) F ir s t v io lin s
E xact r e p e titio n
11 (300- 311)
S tr in g s
F r a g m e n t a r y and m o d ifie d .
11 (312-322)
O boes and bassoon s
M o d ifie d .
(293-300)
120 ( 3 2 2 -442)
U s e s B th em e l a r g e l y ; a l s o som e A m a t e r i a l an d new m a t e r i a l .
CHAPTER VI SYMPHONY NO. 3 IN E FLAT MAJOR - OPUS 5 5 THE EROICA SUMMARY f A ra t M
o
y
e
m
g
A
t
b^r s
In tr o : 2 bars Ex p o : A T rans 1 164 41
B 87
D C o d etta 2 9 (on r e p e a t ) 6
xR ecao: 159
B 87
D 22
xA %
R etran s 1
D ev •• bars 232
Coda 135 bars
S e c o n d Movement - S e c o n d Rondo w i t h D e v e lo p m e n t 247 b ars A 68
B _ 31
Trans 5
A 13
D ev 35
T rans 5
C 15
T h ir d Movement - S c h e r z o a n d T r i o Compound SonR Form A Scherzo 166
B T r io 88
A 37
A Seherzo 167
V ar. VI 45
V ar. V II 92
V ar, I I I 32 V ar, V III 32
Trans 9
bars
- 442 b a r s Coda 20
F o u r t h Movement - Theme .and V a r i a t i o n s I n t r o : 11 b a r s Them© V a r . I V ar. II 16 33 15
Coda 38
- 473 t a r s
V a r . IV 58
V a r . EC 50
bars
Coda 43
.
Var- V 37
SYMPHONY NO. 3 IN E FLAT MAJOR - OPUS 5 5 THE EROICA F i r s t Movement - S o n a t a A l l e g r o A lle g r o con b r io In tr o d u c tio n - 2 b ars
- 691 b a r s
(1 -2 )
E x p o s i t i o n - 164 b a r s ( 3 - 1 6 6 ) Theme
K ey
A group
Ba r s
T reatm en t
41 (3*43) 9 , (3 -H ) E
r2
In stru m en t o f announcem ent
8
C e llo s F ir s t v io lin s
C o n trap u n tal w ith
C l a r i n e t s and F rench horns
M o d ifie d
(7 -1 4 ) Eb
A1
8 (15-22) < 3 l _______
Vfii.
x:
\\\
f
3
jir&sa.
6 i£1
F i «V4-0
3±
1
N o. 3 - I - E x p o s itio n c o n tin u e d Theme
a3 x A-l
Tr a n s .
Bars
In stru m en t o f announcem ent
Eb
15 (2 2 -3 7 )
G l a r i n e t s and f ir s t v io lin s
T?h
*7 (3 7 -^ 3 )
C e l l o s and b asses
K ey
1 (M )
T reatm en t
M o d if ie d ; g o e s from e J t h r o u g h C m in o r t o
Ab . M o d u la te s t o F .
51 N o . 3 - I - E x p o s itio n c o n tin u e d Theme K ey Bars In stru m en t o f ________ ___________________ a n n o u n c e m e n t
T reatm en t
B group
F 87 , Bb ( 4 5 - 1 3 1 )
B-
Bb
13 (43- 5 7 )
O boes, c l a r i n e t s , flu te s, fir s t v io lin s
C a n n o n ic .
xB,
Bb
27 (5 7 -8 3 )
F ir st v io lin s
S e c o n d a r y and tr a n sitio n a l m a te r ia l-
1 TL 11
Ir
ihip^r E■i
%
f
I
a
Zdolct bl fit
/-—#
VI-
^ d:
l/W l
32 'Bax 80 Fi
50
Pi
en d s in
m a te r ia l
57 Wo. 3 - I I Theme C
K ey C m in .
- S e c o n d Rondo w i t h D e v e l o p m e n t - c o n c l u d e d B ars 15 (1 5 8 -1 7 2 )
In stru m en t o f a nn o u n c e m e n t H o rn s and T r u m p e ts
37 (1 7 3 -2 0 9 )
At
8 (173- 180)
O boes and c la r in e ts
15 (1 8 0 -1 9 5 )
F ir s t v io lin s
14 (I95-209)
F lu te s , oboes, and c l a r i n e t s
E A-^
F m in .
Coda Ap
A\
S ar
C o n s i s t s o f Ag and At -4. m a t e r i a l .
38 (209-247) Ad C m in .
In f u g a l s t y l e ; c o n t r a p u n t a l m e lo d y i n s tr in g s ; goes to G raa j o r . T hree p a r t fo rm .
A group C m in .
T reatm en t
29 (2 0 9 -2 3 8 )
F ir st v io lin s
M o d u l a t e s t o C m in o r ; m o d ifie d .
9 (2 3 8 -2 4 7 )
F ir s t v io lin s
F r a g m e n t a r y and m o d if i e d .
58 Wo. 3 ” T h ir d Movement - S c h e r z o and T r i o - 4 4 2 b a r s A lle g r o v iv a c e T h ree P a r t Song P r i n c i p a l S on g "A” S c h e r z o A Two P a r t S o n g Theme
K ey
A-
E1
Ba r s
-
wb E m ajor 166 b a r s
In stru m en t o f announcem ent
114 A ll in s tr u ( 1 - 1 1 4 ) m e n ts p a r t i c ip a t e ; b e g in s in str in g s; wood w in d s c o m in g i n in te r m itte n tly
(1 -1 6 6 )
T reatm en t C o n s i s t s o f : ( l ) tw o 14 b a r p e r i o d s , th e f i r s t in E*3 e n d i n g i n B^; ( 2 ) a 2 0 b a r d o u b l e p e r i o d i n B*5 g o i n g t o F ( 2 8 - 4 8 ) ( 8 and 12 b a r s ) (3 5 a n 8 b a r s e c t i o n ( 4 9 - 5 6 ) m o d u la tin g to G m i n o r , a 13 b a r p e r i o d ( 5 7 ”69) m o d u la tin g to D m a j o r , and a 7 b a r p h r a s e r e t u r n i n g t o Eb b y r e i t e r a t i n g i t s d o m in a n t ( 6 9 7 6 ) , (4 ) a d o u b le p e r io d ( 7 6 - 9 2 ) g o in g to B °.
H o r n s, tru m ( 5 ) a 22 b a r p h r a s e group n»b ( 9 2 - 1 1 4 ) . p e t s , and E tym pan i e n te r ; f l u t e s and f ir s t v io lin s c a rr y th e a ir .
ttw rf
J.
r "
i t
A t'
Vi&s
-
-
K
—
w
20
■
•H -*
S
p\}, 3 ~ r
4
j
------ —*---- 0 ~9— 0"W
ft'
^
^
1
■
'
'
0 "0
0 '
0 0
........ w~ +-~ U t = N = J
59 Wo. 3
- Ill
Theme
K ey E!
- S c h e r z o c o n c lu d e d Bars
In stru m en t o f announcem ent
52 ( 1 1 5 “l 6 6 )
S t r i n g s ; wood w i n d s c o m in g in S t r i n g s and wood w in d s Wood w in d s an d s t r i n g s In d i a l o g u e ; la s t part secon d v i o li n s
A1
a2
T reatm en t C o n sistin g o f: ( l ) a d o u b l e p e r i o d o f w h ic h th e f i r s t 8 bars ( 115~ 1 2 2 ) end i n B^ and t h e la s t 7 bars ( 123- 129) en d i n C m i n o r . ( 2 ) a 37 b a r p h r a s e g r o u p I n jjb ( 1 2 9 - 1 6 6 ) r e t u r n in g t o b a r 31 o f
3
8k (3 1 -1 1 4 ) (on r e p e a t)
Exact r e p e t it io n
T3*0
jro ( 115- 166) (on r e p e a t)
E xact r e p e t it io n
60 N o. 3 - III
- S c h e r z o and T r i o c o n t i n u e d
S u b o r d i n a t e S o n g - HB M - T r i o Eb M a jo r T h ree P a r t Song B ars
88 b a r s 1 1 6 6 - 2 5 5 ) (on r e p e a t ) T reatm en t
Theme
K ey
B1
E
16 (1 66 -18 2)
H orns
A p e r io d *
B1
Eb
2k ( 182-2 0 6 )
H o rn s
R e p e a ted and e x t e n d ed ; en d s in F m in o r .
B2
Bb
20 (2 0 6 -2 2 6 )
F lu te s , oboes, and b a s s o o n s
Sequence.
B1
Eb
H orns
F ore ph rase sh o rten ed and a f t e r p h r a se e x te n d e d ; m o d u la te s th rou gh t o E^*
34
In stru m en t o f a n n o u n c em e n t
(2 2 6 -2 6 0 )
E
8 ( 199-206) (on r e p e a t )
F lu te s
A p e r io d .
b2
Bd
20 (2 0 6 -2 2 6 ) (on r e p e a t)
F lu te s , oboes, and b a s s o o n s
Sequence.
B,
Eb
29 (2 2 6 -2 5 5 ) (on r e p e a t )
H orn s
T w o
C a r._ 8dr. Ibh *
a r
6 bars
S e c o n d Movement - T h i r d Rondo - 104 b a r s In tro : 1 bar A B A 24 16 8
Trans 4
T h ir d Movement A Scherzo 90
B T r io 84
C 7
R etran s A A 16
- S c h e r z o and T r i o A 94
B 85
B 16
xA 9
- 3Q7 b a r s
A 45
bars
F o u r t h Movement - S o n a t a A l l e g r o - 3 5 5 b a r s 100
A 31
T r a n s.. 5
B 28
D ..................... 36 (on r e p e a t )
K ecao: 94
. A 25
R etran s 5
B 28
p 36
Ex p o : .
Coda I 40
x Be v t 85
bars
Coda I I 37 b a r s
bars
SYMPHONY NO. 4 IN B FLAT MAJOR - OPUS 60 F i r s t Movement - S o n a t a A l l e g r o
- 498 b ars
I n t r o d u c t i o n - 42 b a r s ( 1 - 4 2 ) A d a g io - 38 b a r s - A l l e g r o v i v a c e E x p o sitio n Theme
- 144 b a r s
K ey __
Bars
(4 3 -1 8 6 )
- 4 b ars)
(o n r e p e a t ) T reatm en t
In stru m en t o f announcem ent
A th r e e p a r t form .
A g r o u p B1
52 , (4 3 -9 4 )
B1
22 (43- 6 4 )
A n n ou n ced In A d o u b le p e r io d ; th e f ir s t v io lin s ; f i r s t one 1 0 , th e an sw ered in s e c o n d e x t e n d e d t o 12 bars . oboes, c l a r i n e t s and b a s s o o n s
B1
16 ( 65- 8 0 )
V io lin s
14
C e llo s ,
A1
B
B a s s o o n s on c o u n t e r m e lo d y o f m o d i f i e d A i ; o b o e s , c l a r i n e t s , and h o r n s on p e d a l c h o r d s . b asses
( 8 1 - 9 ^)
P e d a l c h o r d s i n wood w i n d s , h o r n s , and t r u m p e t s ; e n d s i n A° m ajor; a c c o m p a n im en ta l f ig u r e in v i o l i n s .
SI r l/n s - T
■Bar. 39 Fi . 56
&>U- v \ S3 ai r
'Bar si
F I q.* sT
V
y>
f y f rr fr t- H
p M r, r
6?
N o . 4 - I - E x p o s itio n c o n tin u e d Theme
K ey
Bars
T rans.
12 (9 5-106 )
In stru m en t o f announcem ent
T reatm en t
Wood w i n d s
B group
P
35 v (107-1*1)
B«
p
14 (1 0 7 -1 2 0 )
B assoon s, ob oes, and f l u t e *
21 (1 2 1 -1 4 1 )
S tr in g s
%
a te ^ (W
1
E n ters c a n o n ic a lly ; L ast 4 bars a re t r a n s i t i o n a l and se c o n d a r y th e m a tic m a te r ia l. A passage of sequ en ces•
k
fm
■&1
Vsti*
^ T
n r r - j
m
in m
t f i c .c .a b 3 1
¥
'B ar /Z: Fic^. s e
* N ote:
O n ly o n e f l u t e
is
Trtfjg.
p
used in t h i s
e n tir e
El
sy m p h o n y .
N o. 4 -
I - E x p o s it io n c o n c lu d e d
Theme
Kev
xD g r o u p F
Bars
i n s t rumen ~t of announcem ent
T reatm en t
46 (1 41 -18 6) (on r e p e a t)
xD-
F
37 (1 41-177)
D,
p
g
(177-196) (177-186) ( o n rep ea t)
C la r in e ts
C a n o n ic w i t h b a s s o o n ; f i r s t 20 b ars are t h e m a t ic ; t h e l a s t 17 are e x te n sio n . S yn cop ated f i g u r e l i k e t h e t r a n s i t i o n f r o m An
to BX.
E x p o sitio n r e p e a te d .
J.Jlrirfif r /f f-fl 14|
do Ice
69 N o . 4 - I - D e v e lo p m e n t 1 5 0 b a r s
(1 8 7 -3 3 6 )
D ev elo p m en t I s m a in ly by c o n t r a p u n t a l t e c h n i q u e s . F ir s t th e
them e i s
g iv e n
i n F m a jo r i n t h e v i o l i n s and
o t h e r s t r i n g s w i t h t h e wood w in d s h o l d i n g a c c o m p a n y in g p e d a l chords (1 8 7 ~ 2 0 2 ).
" W h ip la sh f i g u r e ”
st
over fig u r e
v a r i a n t s o f a^ c o n t i n u e t o b a r 2 1 $ w h e r e t h e g i n s a g a i n o v e r a t h e m a t ic a c co m p a n im en t. th e m e a p p e a r s
JL and
them e b e I n 2 2 1 a new
in t h e d e v e lo p m e n t s e c t i o n d e s i g n a t e d a s
b e g in n in g in v i o l i n s
i n D m a j o r and c o n t i n u e d
among v i o l i n s and wood w i n d s t o b a r 2 4 0 . A1 h a s b e e n c a r r i e d
on I n t e r m i t t e n t l y
f l u t e s an d c e l l o s b y t u r n s .
C
in d ia lo g u e
A ll th is
In b a s s o o n s ,
tim e t h e v io lin s ,
From 2 4 0 on a m o d i f i e d A-^ i s
a g a i n h e a r d a g a i n s t p e d a l c h o r d s and a m e lo d y i n t h e f i r s t v io lin s.
I n 2 5 7 t h e drum r o l l a p p e a r s and i s c a r r i e d
t h r o u g h t h e r e m a i n d e r o f t h e m o v em e n t, e i t h e r a s a r o l l o r a s s in g le b e a t s , w ith l i t t l e
in te r m iss io n .
In b a r 2 8 9 a new 4 m e a s u r e th e m e i n B m a j o r , i n t h e v i o l i n s and I s d e v e l o p e d 3 0 5 on t h e w h i p l a s h f i g u r e q u e n tia lly trea ted
E, a p p e a r s
Im m e d ia te ly ( 2 9 3 - 3 0 4 ) .
s^ o r p o r t i o n s o f I t a r e s e
o v e r t h e drum r o l l .
From
70 N o. 4 - I - R e c a p i t u l a t io n - 115 b a r s Theme
T reatm en t
B ars
In stru m en t o f announcem ent
32 (3 3 7 -3 6 8 )
V i o l i n s , wood w i n d s , and tru m p ets
R etra n s.
12 (3 6 9 -3 8 0 )
Wood w i n d s , then f u l l o rch estra
B g r o u p Bb
35 , (3 8 1 -4 1 5 )
Bx
14 (3 8 1 -3 9 4 )
B assoon s, c la r in e ts , f l u t e , and oboes.
A 10 b a r s e c t i o n p l u s 4 bars e x te n sio n ma t e r l a l .
21 (3 9 5 -4 1 5 )
F l u t e and str in g s
P assage of seq u en ces
A-
K ey
(3 3 7 -4 5 1 )
Bd
Bb
V
One p e r i o d o f 1^ b a r s and o n e e x t e n d e d t o 18 w i t h th e m e s som ew hat m o d ified ( i n b a s s e s and c e l l o s ) .
XD1
B1
37 (415-451)
C la r in e ts and b a s s o o n s In d ia lo g u e
C a n o n i c ; l a s t 17 b a r s secon dary m a te r ia l.
xC oda
Bb
48 (45 1 -4 9 8 )
M elo d y i n flu te
Makes much u s e o f s^ and f r a g m e n t s o f i t an d f r a g m e n t s and v a r ia n ts o f ends w ith 8 bars c a d e n t ia l ch ord s.
71 N o . 4 - S e c o n d Movement - T h i r d Rondo - 1 0 4 b a r e A d a g io In tr o d u c tio n Theme
(1 -1 0 4 )
- 1 bar* T reatm en t
In stru m en t o f announcem ent
Bars
K ey
24 (2 -2 5 )
A g r o u p Eb
F ir st v io lin s
A p e r io d ; e m b e llis h in g f i g u r e s i n wood w i n d s .
8 (1 0 -1 7 )
F lu te
The p e r i o d r e p e a t e d w ith e m b e llis h in g f i g u r e s In s t r i n g s .
8 (1 8 -2 5 )
V i o l i n s and flu te
E n d i n g I n B**; c o n t r a p u n ta l I n t e r e s t added i n wood w i n d s .
A1
Eb
8 (2 -9 )
A1
Eb
Ag
Eb
Si
vfys-JT
IF . F ic^. fcl
f»i
:
- f ~ ~
f
m
-
V * T. I T '5aY.*rA1 _____________( x
------------------------• 1 ---------- —
m.
t
!
..... i
j
i
t
Fi V fa fi:!..
J
f
fi M . ^
? d t : i r T .......
*
r
f
r
f
-
k
« ._ -------------- ------- -----------------
•
* N ote: I t w i l l be n o ted t h a t m o tif s^ , a sy n co p a ted r h y t h m i c f i g u r e fr o m t h e i n t r o d u c t o r y b a r , u n d e r l i e s and u n i t e s t h e w h o l e m ovem ent a n d s e r v e s a s t h e p a t t e r n f o r t h e a c c o m p a n im e n t i n e v e r y i n s t r u m e n t . W h ile i t i s c h a r a c t e r i s t i c a l l y a drum f i g u r e , i t i s u s e d v e r y s p a r i n g l y b y t h e t y m p a n i , b e i n g e m p lo y e d i n o n l y f i v e m e a s u r e s b y t h a t in str u m e n t.
72 No. 4 - I I
- T h ir d Rondo c o n t i n u e d
Theme K ey Bars In stru m en t o f ____________________________ a n n o u n c e m e n t
T reatm en t
B g r o u p Bb
16 (2 6 -4 1 )
Bb
9 (2 6 -3 4 )
C l a r i n e t s and flu te
A p e r io d .
Bb
7 (3 4 -4 1 )
B assoons, horn s, o b o e s , and flu te
Brum f i g u r e str in g s,
F ir s t v io lin s
B a r 49 i s a l l secon d ary m a te r ia l l i k e s^ ; a l l i n s t r u m e n ts .
B1 b2
in
S a r . Zb ^ »c\. bfo
i'-v c^. E1
8 (4 2 -4 9 )
Trans .
4 ( 50- 53)
To Eb m i n o r .
73 N o . 4 - I I - T h ir d Hondo c o n c l u d e d Theme
K ey Gd
Bars 7 (5 4 -6 0 )
In stru m en t o f announcem ent
T reatm en t
V i o l i n s in d ia lo g u e
l/jfl-I
) P\c\ - CoS
R etra n s •
4 (6 1 -6 4 )
Al
*b
16 (65- 8 0 )
B g r o u p Eb
16 (81-96)
Eb b2
Eb
xAl
Eb
To E*5 m a j o r . F lu te , c l a r i n e t s , and bassoon s
D i a l o g u e ; m o d i f i e d and e m b e llis h e d .
9 (8 I - 8 9 )
C la r in e ts
A r p e g g ia te d f i g u r e in s t r i n g s .
7 (8 9 -9 6 )
Borns
Drum f i g u r e i n c e l l o s and b a s s e s .
F l u t e an d c la r in e ts
E m b e llish e d ; b a rs 9 8 101 form a q u a s i cadenza in th e v i o l i n s
(96 -1 0 4 )
74 N o . 4 - T h ir d Movement - S o n g a n d T r i o Compound S o n g Form - T h r e e P a r t
397 b ars
P r i n c i p a l S o n g - 11A" - T h r e e P a r t Son g A lle g r o v iv a c e
90 b a rs
In stru m en t o f announcem ent
Theme
K ey
Ba r s
A1
Bb
20 ( 1-2 0 )
a2
Db
A1
Bb
T reatm en t
C l a r i n e t and bassoon s
E n d s i n F;
"52 (21- 52)
D isp er se d th rou gh e n t i r e o r c h e s tr a in d ia lo g u e
A group o f p h ra ses o f v a r y in g le n g t h .
38 (5 2 -9 0 )
V i o l i n s and wood w in d s
R e tu r n in g a t o c ta v e ; m o d ifie d .
A2 and A^ r e p e a t e d
£
rep ea ted .
to g eth er
i
7Tsfr-
(I-90)
m
s!^
M
^v- I A.
% y I
N ote:
£
A sch erzo, su ch.
but B eeth o v en d id n o t d e s ig n a t e
O tto S in g e r ,
op,. c i t . , V o l .
I,
108.
i t as
75 No. 4 - I I I - Song and T r i o c o n t i n u e d S u b o r d i n a t e S o n g #,B" - T r i o - T h r e e P a r t S o n g 84 b a r s (91- m ) Theme
K ey
B-
Bb
T rea tm en t
Bars In stru m en t o f __________ a n n o u n c e m e n t 40 (9 1-130 )
B,
10
(130-140)
34
B-
(1 4 0 -1 7 4 )
O boes, c l a r i n e t s , b a s s o o n s and horns
S t r in g s in a cco m p a n im en t; h o r n s on p e d a l chords (9 1 -1 6 2 ).
B assoons, v io la s and v i o l i n s
T r a n sitio n a l.
F lu te s , ob oes, c l a r i n e t s , and bassoon s
S tr in g s in a c c ompan im e n ta 1 fig u r e .
trio -G JQ
31 T
“Cf------f
f H
-N 4 w
4
j
,z_ * =
/
$ =
1
4
i
ULI
P
4
&
¥
f
* 'm T o X ^ O tto S i n g e r ,
op. c l t .,
V o l.
I,
p.
109.
76 N o. 4 - I I I
- S o n g and T r i o c o n c l u d e d
P r i n c i p a l S o n g - ttA,! - 94 b a r s T hree P a r t Song
( 175- 2 6 8 )
Theme
K ey
B ars In stru m en t o f ___________a n n o u n c e m e n t
A1
B°
24 ( 1 7 5 ~1 9 8 )
F ir st v io lin s w i t h wood w i n d s added
A,
Db
36 ( 198-2 3 4 )
V i o l i n s and wood w in d s
B*5
34 (2 3 4 -2 6 8 )
D ia lo g u e b etw een wood w i n d s a n d str in g s
S u b o r d in a te Song B1
B
b2
Bb
Bt
tt-D B »1 - T r i o
- 85 b ars
S t r in g s h o ld p e d a l chords (2 4 5 -2 5 2 ).
(2 6 9 -3 5 3 ) Same a s T r i o (91- 130) .
(308- 318)
S tr in g s; bassoon s fo r 4 bars
Same a s T r i o (1 3 0 -1 4 0 ) .
35 x (319- 353)
V i o l i n s and wood w in d s
Same a s T r i o (1 40-174) .
10
P r i n c i p a l Song B*5
S t r i n g s and wood w in d s i n d i a l o g u e .
Wood w i n d s
40
(269-308)
BD
T reatm en t
"A" - 4 4 b a r s
44 ( 3 5 3 “3 9 7 )
(3 5 3 “397)
S t r i n g s and wood w i n d s i n d ia lo g u e
P e d a l c h o r d s in h o r n s and s t r i n g s (3 7 1 “3 7 8 ) .
77 N o . 4 - F o u r t h Movement - S o n a t a A l l e g r o A l l e g r o ma n o n t r o p p o E x p o sitio n
- 100 b a r s
Them e Key ______
B ars
A g r o u p Bb
31 (1-31)
b
11 ( 1- 11)
Bb
A
Trans •
B13
(1-100)
(on r e p e a t )
In stru m en t of announcement
V io lin s
Secondary th e m a tic m aterial.
13 (12-24)
V io lin s ; tak en o v e r b y wood w i n d s
S tatem en t o f th e them e.
7 (25-31)
V io lin s
Secondary th em atic m aterial.
*
To F m a j o r . 1
W
Vfkzff pfTJ ■QJd
. . (c
JLT..
VfME B o.fl
T reatm en t
5 (31-36) az
ai
- 3 5 5 "bars
— V— .. ( -
................ W i
? a*
•y. (py
g-f:
7
T*-----^ -----” -- 9—O---
'~f, u ' ~ —r— s------ ET =^ ' —2 __ 7 .......,
CLO V7IS ' j ,-yj fy. 1. 1? f — — ^
V''rtS:I.r H1* -ft 'B a r i ? :
>—
^ . ( l -- fV-V ..f)-D -i ---------------- — & ..... " > ' i: /S'
^ m F{
~
* .. ^ r
1
FiV T Y n & X .81
iq c z tr y \jq
j9
b ~^ | —
y jr r
85 N o . 5 - I - D e v elo p m en t 128 b a r s
(125-252)
The m e l o d i c and r h y t h m i c f i g u r e and a g a i n and u n d e r l i e s t h e rhythm ic f i g u r e , u n d e r l i e s and u n i f i e s
the e n t ir e
first
w ith or w ith o u t the e n tir e
is
repeated again
m o vem e n t;
the m elod ic
indeed
in terv a l,
sy m phony w i t h t h e e x c e p t i o n
o f t h e S ec o n d Movement. The d e v e l o p m e n t h e r e and s e q u e n c e , keys.
i s by m o d u la tio n ,
rep etitio n ,
t h e m o t i f s a]_ and a 2 p a s s i n g t h r o u g h many
In b a r s 1 9 6 - 2 3 9 *
is
treated
s e q u e n t i a l l y an d i n
a u g m e n t a t i o n and d e v e l o p e d by d i s i n t e g r a t i o n .
86
No. 5 - X - R e c a p i t u l a t io n Theme
Key
A g r o u p C min Al
- 123 b a r s
Bars Instrum ent o f _________ a n n o u n c e m e n t
(253- 375) Treatm ent
^9 ( 2 5 3 - 3 OI)
C min
25 T u tti: (2 5 3 -2 7 7 ) C o n tin u es in v i o l i n s
C an on ic•
C min
24 S trin g s (278-301)
A phrase group.
Trans
5 ( 302- 306)
B group C
56 ( 307- 3 6 2 )
B-
40 V io lin s, ( 3 0 7 - 3 4 6 ) f l u t e s and cla r in ets
I n s t r u m e n t s In d i a l o g u e ; a 4 bar phrase rep eated fo u r tim es p lu s a 2 bar fragm ent r ep ea ted fo u r t i m e s ; t h e n r e p e a t e d and extended in th e v i o l i n s .
B*
16 V io lin s (347-362)
Secondary th em a tic m ateria l; s e q u e n tia l.
13 Wood w i n d s (362-375)
U s e s A2 m a t e r i a l .
127 (376-502)
B u i l t on t h e r h y t h m i c a nd m e l o d i c m o t i f ap l a r g e l y , b u t h a v i n g new m a t e r ia l, n o ta b ly a lon g s e q u e n t i a l p a s s a g e In the s t r i n g s (4 2 3 -4 3 9 ) and r e p e a t e d i n f r a g m ents t o 4 6 7 “ “p o s s i b l y a su b tle d e r iv a tio n of the Bp t h e m e .
Coda
N ote:
An u n u s u a l f e a t u r e o f t h e R e c a p i t u l a t i o n i s unm easured oboe theme i n b a r 2 6 8 ( q u o t e d ) .
£ b ____
VK
the
N o . 5 - S e c o n d Movement - Theme an d V a r i a t i o n s A n d a n t e c o n m oto Theme _______
Key
Theme
A1
Bars
Instrum ent o f announcement
- 247 bars
Treatm ent
49
( 1- 4 9 ) A1
A
22 (1-22)
V io la s, c ello s, and f l u t e s
An 8 and t w o 7 b a r p e r io d s ; d ia lo g u e betw een s t r i n g s a n d wood w i n d s .
A
(22-31)
Wood w i n d s
A p erio d ;
C
7 ( 3 1 ”3 8 )
O boes, h o r n s , Accompaniment i n s t r i n g s . and t r u m p e t s on m e l o d y
C
11 (38-49)
F i r s t violin s an d b a s s o o n s
W '|
Q .I s
y s
T ra n sitio n a l; to Ab.
s
i f f f
.
ni
$ \ f j l 'S a r lz z
\f
£ j \ f f 25
Vtia-X
ff
d ia lo g u e.
m odu lates
88
N o. 5 ~ II Theme Var.
Key I
“ Theme a n d V a r i a t i o n s c o n t i n u e d Bars
Instrum ent of announcement
Treatm ent
49 (49*98)
Al
A'
22 (49-71)
F lu tes, v io la s , and c e l l o s
A running 16th n o te f i g u r e i n c e l l o s and v io la s; p izzica to accom panim ent in t h e low s t r i n g s .
A2
A*3
9 (72-80)
V io lin s, cla r in ets, bassoons
An A l b e r t i s t y l e 3 2 nd n o t e f i g u r e i n v i o l a s ; ends in C ma j o r .
C
7 ( 8 O-8 7 )
Oboes, h o r n s , and t r u m p e t s
A l b e r t i s t y l e 3 2nd n o te f i g u r e in strin g s.
C
11 (87-98)
V io lin s
T r a n s i t i o n a l ; ends i n E*3 m a j o r ; much e m b ellish ed w ith s t r i n g f i g u r e s in 3 2 nd n o t e s .
28 (98- 126)
Theme i n r u n n in g f i g u r e in v i o l a s and c e llo s ; p izz. accom p’t in low s t r i n g s
P e d a l c h o r d s i n wood w inds ( 9 9 - 1 0 6 ); ends i n E*3 m a j o r a nd e x tended w ith 5 bars ca d en tla l chords.
Wood w i n d s
Ends i n C m a j o r .
F u ll orchestra except v io la s , c e l l o s , and basses
Augmented m elo d y ; accom panying f i g u r e in c e l l o s , v i o l a s , and b a s s e s ; en d s i n F m a j o r ; l a s t two bars e x te n s io n .
A/
Var.
I I A1
Var.
Ill
A1 a2
a nd
33 (127-159)
A* E*
21 (127-147) 12 (147-159)
89 No. 5 “ II Theme Var.
A1
Key IV
v.
A
Var. V
Coda. A
Bars
Instrum ent o f
Treatm ent
25 , (159-184)
A“ m l n .
Ax
“ Theme and V a r i a t i o n s c o n c l u d e d
7
V io lin s
B egin s w ith t r a n s i t i o n a l p a s s a g e t o A*3 m i n o r ; A lb e r ti f ig u r e in v io lin s.
(159-166)
Ab sain..
18 (166-184)
Wood w i n d s
A l b e r t i f i g u r e in f i r s t v io lin s; p izzica to accom panim ent In th e other s t r i n g s .
Ab
20 (185-204)
V i o l i n s and wood w i n d s
Accompaniment i n v io la s, c e llo s , basses, t r u m p e t s , h o r n s , and tym pan i.
43 (205-247)
B a s s o o n s and c la r in ets
Ac c ompan Iraent i n s t r i n g s ; fragm ented m e lo d y In f l u t e s and o t h e r wood w i n d s ; r h y t h m i c f i g u r e o f A^ in s t r i n g s .
mln^
90 N o . 5 * T h i r d Movement - S o n g and T r i o - 373 b a r s A llegro Compound s o n g f o r m - t h r e e p a r t P r i n c i p a l S o n g - "A" ( S c h e r z o ) * Two p a r t s o n g Theme
Key
Bars
(1-140)
T reatm ent
Instrum ent of announcement Low s t r i n g s
Ends i n G.
27 (19-45)
Horns
E nds i n m inor (dom inant c a d e n c e ) .
26 (45-70)
Low s t r i n g s
G o es t h r o u g h many k e y s e n d i n g i n G.
Ai
C m in .
18 (1-18)
a2
C m in .
atAi
- C m inor - 140 b a r s
a2
C m in.
27 (71-97)
H o rn s and c la r in ets
Ends i n c m a jo r .
xAx
0 min G
36 (97-132)
F lu te s , oboes, low s t r i n g s , and c l a r i n e t s
I n s t r u m e n t s In d ia lo g u e ; ends in C m inor.
C ello s
In c o u n t e r p o in t w ith Ai #
F lu te s , oboes, h o r n s , tym pani
Ends i n C .
a2
a2
G
8 (101-108)
0 m in. 8 , C (133-140)
* N ote: B eeth oven d id n o t d e s ig n a te
1 O tto S in g e r ,
op. cjjt., V ol.
th is
I, p. 134.
a Scherzo.
91 No. 5 -
III
- S o n g an d T r i o
S u b o r d in a t e Song Theme
#*BW T r i o
Bars
Key
- con tin u ed - C m ajor -
95 b a rs (140-2351
Instrum ent of announcement
Treatm ent
Bl
C
20 (140-160)
Low s t r i n g s and b a s s o o n s
b2
G
9 (160-169)
Low s t r i n g s
Goes b a ck t o C ma j o r .
B1
C to F
25 , (169-194)
Bassoons, v io l a s , and v i o l i n s
R eturns t o C m ajor.
Bg
C
11 (194-206)
S trin gs
B1
C
30 (205-236)
Low s t r i n g s and c l a r i n e t s
G o e s t o F and b a c k t o C; l a s t p h r a s e i s p iz z ic a t o in c e llo s and b a s s e s .
3arl41 t ;,-0 Yle.'eCb *
:, / i .
u~
-1 Tm T* 7& ■ Jr .^ .
'
-2-- *L_ ~ r —P— EfgL! 1
Wo. 5 - I I I
- S o n g and T r i o c o n c l u d e d
P r i n c i p a l t h e m e - #,Afl ( S c h e r z o ) - C m i n o r - 1 3 8 b a r s (236-373) A tw o p a r t s o n g Theme
K ey
Bars
C m in.
19 (236-264)
Ap
C m in.
26 (255-280)
A^
C rain ♦ 36 (280-316)
Ag
C rain .
Trans.
Instrum ent of announcement C e l l o s and basses
Treatm ent B a s s o o n s an d c l a r i n e ts in d ia lo g u e w i t h low s t r i n g s ; ends in G m ajor.
C la rin ets; oboes in 263
Ends i n C m a j o r .
C e l l o s and bassoons
Ends i n C m a j o r ; much e x t e n d e d .
7 S t r i n g s and ( 3 1 7 ~3 2 3 ) b a s s o o n s 50 (324-373)
V io lin s, v io la s, c e llo s , basses, and t y m p a n i
New m a t e r i a l w i t h A*> p e d a l c h o r d f o r 15 b a r s e n d i n g on a t u t t i an d f o r m i n g a b r id g e to the F o u r th M ovement.
93 N o . 5 - F o u r t h Movement - S o n a t a A l l e g r o A lle g r o m aestoso E x p o sitio n : Theme A group
90 b a r s
Key
Ba r s
C
42 (1-42)
(I-90) Treatm ent
Instrum ent of announcement
F anfare s t y l e ; a p i c c o l o , tw o t r o m b o n e s , * an d c o n t r a bassoon added. F u ll orchestra
A p erio d w ith e x te n sio n of 4 b a r s .
(12-25)
V io lin s, flu te s , p i c c o l o s , and oboes
T u t t i ; f u l l ha r m o n y i n l o w s t r i n g s and brasses.
17 „ (26-42)
Oboes, c l a r i n e t s , b a s s o o n s , and horns
A dou ble p e r io d , second la r g e ly seq u en tia l.
12 ( 1- 1 2 )
A1
- 444 b a r s
Ao
the
Trans (42-44)
C-C>Y.
&
fli
ft£
■par 1 y ^ S3 ------------— — K 1&6r-2b>
t l L
r C
£
f
7
£
3-i---- 4 ^
0
— 1---------------1—
a> a 2 > a 3 > b e i n g w o r k e d o v e r , and f i n a l l y aty an d a^ a p p e a r i n a f o u r b a r p h r a s e g i v e n o u t b y t h e v i o l a s and t h e n r e p e a t ed s e v e n t i m e s ,
the l a s t
tim e extend ed to 5 bars
(243*275).
F i n a l l y b a r s 2 7 6 -2 7 9 form a b r i d g e t o th e R e c a p i t u l a t i o n . R eca p itu la tio n
- 138 b a r s
( 2 7 9 - 1*17)
Theme K ey Bars Instrum ent o f Treatm ent __________________________ a n n o u n c e m e n t _____________________________________ A group F
62 (279-341)
A^
20 V io lin s ( 2 7 9 - 2 9 9 ) and v io la s
A2
F
At
F
Ao
(l)
A 4 b ar p h ra se in second v i o l i n s and v i o l a s e x t e n d e d b y s e q u e n c e and r e p e t i t i o n in f i r s t v i o l i n s ; ( 2 ) I n b a r 2 89 * c o n t r a p u n t a l m e l o d i e s d e r i v e d from t h i s th e m e a p p e a r I n t h e o t h e r strin g s: ( 3 ) an 8 b a r p h r a s e i n c l a r i n e t s and b a s s o o n s , w h i c h c o n t i n u e s on in v i o l a s an d c e l lo s u n til i t d is in te g r a te s .
12 ____ S e c o n d s A c c o m p a n i e d b y a r e p e a t e d f i g * ( 300^ l C ' r v i D l i n s ure in th e f i r s t v i o l i n s ; r e p e t i t i o n and s e q u e n c e .
18 V io lin s R e p e a t e d a t o c t a v e and e x t e n d e d . ( 3 1 8 - 3 2 9 ) a n d wood w inds F 12 Wood Secondary m a te r ia l. ( 3 2 9 - 3 4 1 )
w i n d s
and f i r s t v io lin s
103 No. 6 -
I - R e c a p it u la t io n con clu d ed
Theme
Key
Bars Instrum ent of _________ m ouncg,BigHti„.
Treatm ent
R etrans (.3 4 1 - 3 4 5 ) B group
Bl
48 (346-393)
a*
B2
B'
F
F
Coda
30 x (346-375)
G iven o u t t h r e e t i m e s : c ello s (346-353 v io lin s (35^ -361 basses (360-373
26 (346-371)
I n c o u n t e r p o i n t w i t h B^; g iv en out seven t im e s : 3 ^6 -3 4 9 f ir s t v io lin s second v i o l i n s 3 5 0 -3 5 3 c ello s 3 5 4 -3 6 1 contra b a sse s 3 5 8 -3 6 1 362- 371: oboe bassoons 364-371 f l u t e s and c la r in ets (366-371)
22 F l u t e s and ( 372- 393) str in g s
F ir s t phrase (3 7 2 -3 7 5 ); in c o u n terp o in t w ith in b a s s e s .
C la rin ets
Second p h r a s e (3 7 6 -3 7 9 )*
F l u t e s and strin g s
F ir s t phrase (3 7 9 * 3 8 2 ).
C la rin ets
Second p h rase
(382-385)*
C ad en tla1 exten sion
(385*39^)•
24 S trin gs (394- 417)
95 , (418-512)
G iven o u t and r e p e a t e d fo u r tim es in s t r in g s ; l a s t f o u r b a r s form a b rid ge to c o d a . ( 1 ) A i theme ( 4 1 8 - 4 2 7 ) ; ( 2 ) New m a t e r i a l r e m o t e l y rela ted to (428-479) (3) theme ( 4 8 0 - 5 1 2 ) .
104 N o . 6 - S e c o n d Movement* - S o n a t a A l l e g r o Andante m o lto mosso
- 139 b a r s
(S cen e by th e brook) E x p o sitio n Them©
K ey
- 57 b a r s Bars
A g r o u p B‘
28 (1-28)
Al
B'
13 ( 1- 1 3 )
xA/
B1
8
(1*57) Instrum ent o f announcement
Treatm ent
F irst v io lin s
A r e p e a t e d p e r i o d ; on repeat em b ellish in g f i g u r e s a r e added in f i r s t v i o l i n s and c la r in ets. Syncopated rhythm i n t h e h o r n s , bars 7 - 1 3 -
F ir st v io lin s
A p e r io d composed o f two 2 b a r p h r a s e s e x tended through bar 2 0 .
F ir st v io lin s
C o m p l e t e At t h e m e u s e d a s t r a n s i t i o n them e; t h e f i r s t tw o b a r s (20-21) b ein g in and the r e s t in F .
( 13- 2 0 ) Al
F
8 (21-28)
* An i n t e r e s t i n g f e a t u r e o f t h i s movem ent i s t h e u s e o f tw o s o l o c e l l o s , m u t e d , o n t h e r i p p l i n g b r o o k f i g u r e .
N o. 6 - II
“ E x p o sitio n
- A grou p m usic
km
l i it
7
V il?
7
IP
ffijWrv >i >a
# ~ -±
~
^ ^ - - y
y - g g
’
3 h 'trz 1
i / !> ,
,
, , -
/ -J-
j
.#
f \ a-5 3 , a«u. >1 . and ss-
D evelopm ent b e g in s
i n C and s p e n d s some t i m e i n e a c h
c f t h e k e y s , 0 , A, C, F , D m i n o r and E m i n o r , in g to th e to n ic A f o r a phrase b e fo r e
fin a lly
return
r e c a p it u la t io n begin s
11 8 No. 7 - I - R e c a p itu la tio n Theme
Key
Bars
- 106 b a r s
(278-383)
Instrum ent o f
Treatm ent
____________________________________a m p j j u M L f l r a n t ___________________________
A
45 (278-322)
A
8 (278-285)
F ir st v io lin s
An 8 b a r p e r i o d .
a2
A
15 (285-300)
F ir st v io lin s and wood w inds
A1
D D rain.
8 (301-308)
Oboes and oth e r wood w i n d s
M o d ified ; b ar 300 Is Introductory; fig u r e s2 • Ends i n G m i n o r .
A2
A m in.
14 (309-322) 8 (323-330)
o b o e s and o t h e r wood w i n d s
B e g i n s I n G m i n o r and m odulates to A m inor.
A group
R etrans . -
B group
A
23 (331-353)
B1
A
9 (331-339)
F ir st v io lin s a nd f l u t e s
S e c o n d v i o l i n s an d v i o la s have a 16th n o te accom panim ental f i g u r e on f i r s t p h r a s e .
Ba
A A rain.
14 (340-353)
F lu tes, cla r in ets, and b a s s o o n s
Bar 340 i s I n t r o d u c to ry bar in s t r in g s ; ends In F .
A
30 (354-383) 22 (354-375)
F irst v io lin s
(1) (2) (3;
D group
A m in.
*2 Coda
A
8 (376-383) 67 s (383-^50)
F ir st v io lin s and wood w i n d s
4 b a r s In A m inor, 6 bars tran s . to A 4 and 8 b a r s e c tio n s in A . An 8 b a r p e r i o d e n d i n g on t o n i c c h o r d . Uses th em a tic m a te r ia l from t h e E x p o s i t i o n . R h yth m ic f i g u r e in bass 391-400. O stin ato 4 0 1 - 4 2 2 . Then s x f o r 4 b a r s more an d t h e same rhythm ic f i g u r e c o n tin u e s to the end.
1X9 N o . 7 * S e c o n d Movement - T h i r d Rondo A lleg retto In tro d u ctio n : Theme
A^
Bars
Instrum ent of announcement
98 24
A m in.
V iolas
A dou ble p e r io d p lu s a p e r io d ; in t h r e e v o i c e s ; tw o c o n t r a p u n t a l t h e m a t i c v o i c e s i n c e l l o s and b a s s e s accompany t h e th em e.
A m in .
24 (27-50)
Second v io lin s
Repeated a t n e x t h i g h e r o c ta v e ; second v i o l i n s are a d d e d an d g i v e A-^ t h e m e .
A m in .
24 (27-50)
V i o l a s and c e llo s
A new c o n t r a p u n t a l v o i c e ( t h e Ag t h e m e ) i s a d d e d .
a nd
Viola
^ ________
r~~7
3 114
Vie IA .
$77
, i n ___
R l
AT
Treatm ent
( 3- 100) ( 3- 2 6 )
Ag
bars
2 bars
K ey
A group A m in .
2JQ
A m in.
and A^ A m i n .
^ x -i, P "i g
24 (51-74)
F irst v io lin s
Repeated a t secon d o c t a v e a b o v e ; f i r s t v i o l i n s added and c a r r y A]_ t h e m e ; a t end o f 1 s t p erio d (bar 66) ob o e s and b a s s o o n s a r e a d d e d .
24 (51-74)
Second v io lin s
Second v i o l i n s c a r r y th e c o n t r a p u n t a l Ag t h e m e .
120
No. 7 - I I Theme A^
Key
- T h i r d Rondo c o n t i n u e d Bars
Instrum ent o f
26
A m in.
Wood w i n d s
F lu tes a t next h ig h er o c t a v e ; t r u m p e t s , tymp a n i , an d h o r n s a r e added .
F irst v io lin s
Two b a r c a d e n t i a l repeat a t c lo s e .
B a s s o o n s and c la rin ets
A p eriod ; s t r in g accom panim ent o n l y .
22 (117-138)
C la rin ets
A p e r i o d o f 22 b a r s ; c l a r i n e t s r e in f o r c e d by o b o e s and b a s s o o n s and w it h c o u n t e r m elody in horns.
10 (139-148)
Announced by o b o e s and flu te s ; con tin u e d in v io lin s
R e p e a t e d and m o d i f i e d .
(75- 100) and Ag
26
A m in.
( 75- 100) B group
A
B-
A
48 (101-148)
16 ( 101- 116)
B,
A
B,
Treatm ent
B rid ge (148-149)
B g A /5 .
61
rjmmi S a y -10 PiA- U6
\
11
-
L L-
1r
dolce
C lar.ffD 31
r
IOf
i t
ii
i
i'X,o
i
121
No. 7 - I I Theme p
Key
A m in .
and &X A m i n . A m in.
- T h i r d Rondo c o n t i n u e d Instrum ent o f announcement
Bars
Treatm ent
33 (150-182)
F lu te s , oboes, and b a s s o o n
Ao i s now t h e p r o m i nent v o ic e .
33 ( 150- 182)
B a s s e s and c ello s
Ax u s e d a s a c c o m p a n i ment . '
F ir st v io lin s
A f u g a t o s e c t i o n In w h i c h Ax i s d e v e l o p e d in a f r e e and fr a g m e n ta r y fa sh io n but so much c h a n g e d t h a t i t c a n no l o n g e r b e d e s i g n a t e d a s Ax; f r a g m e n t s o f t h e m e I n wood w inds; running 16th n o t e accom panim ent in str in g s.
31 ^ (183-213)
fo ist
m
m
m
a
f[^ f
to s -lL
$
I i%%
m rio , vi S>
m
122 No. 7 “ II
“ T h i r d Rondo c o n c l u d e d
Theme Key B ars In strum ent of T reatm ent ____________________________ a n n o u n c e m e n t _______________________ A min
A
Ai A min
10 (214-223)
Th©m$ i n strin g s; accom pani ment i n wood w i n d s
A f u g a t o r e p e t i t i o n o f A^ ( r e a l l y a p a r t o f C) I n w h i c h t h e A^ t h e m e I s s o prom inent as to s a t i s f y t h e demand o f t h e Rondo form f o r a r e t u r n to A b e fo re going back to B .
19 (224-242)
C larin ets, "bassoons, and second v io lin s
An a l m o s t e x a c t r e p e t i t i o n of f i r s t announcem ent.
36 V Wood w i n d s (243-278)
F u ll o r c h e s tr a ; tru m p ets and tym pani d ro p o u t a f t e r b a r 2 5 2 ; key passes th ro u g h C m in o r, C , and A; c a n o n i c t r e a t m e n t f r o m 252 on.
12 3 N o . 7 - T h i r d Movement - S o n g and T r i o - 6 5 3 "bars Compound S o n g Form P r i n c i p a l S o n g - "A” ( S c h e r z o ) * F m a j o r - 1 48 b a r s A two p a r t so n g Theme A^
A-^ Ap
K ey
Ba r s
Instrum ent of announcement
F
24 (1-24)
F lu tes, bassoons, v io lin s and v i o l a s
(1-148)
Treatm ent A 10 b a r p e r i o d a nd an 8 bar p e r io d w ith s ix bars e x te n s io n .
r e p e a t s m aking 48 b a r s F
B1
41 (2 4 - 65)
Wood w i n d s a n d s t r i n g s In d ialogu e
83 (65 ~ l4 8 )
Oboes, th e n o t h e r wood w inds, a l s o strin g s
D ivided in to a 2 0 , a 1 6 , and a 6 b a r s e c t io n w ith e l i s i o n b e t w e e n t h e l a s t two sectio n s. M o d ifie d and e x tended ( 6 5 -IO 6 ); r e tu r n s t o F; m o d i f i e d and e x t e n d (2 ) ed ( 1 0 7 - 1 4 8 ) . (1)
Ag a n d A^ r e p e a t t o g e t h e r .
Tnna 9 a erie.
Fi" e d , making 16 b a r s . A double p e r i o d .
C anonic; a d o u b le p e r io d m od u latin g t o F sharp m inor. From F s h a r p m i n o r t o C sharp m inor.
BdT 1
£ Vrcs - I
.
K y"T -'
"
§
128 N o . 7 ** IV - E x p o s i t i o n c o n c l u d e d Theme B
Key
Bars
C# m i n .
41
( 6 3 ~1 0 3 )
Instrum ent o f F i r 3t v io lin s
(1)
Treatm ent An 11 b a r p e r i o d
(63-73), ( 2 ) A r e p e a t e d p e r i o d o f 10 and 8 b a r s ( 7 4 - 9 2 ) , ( 3 ) A s e c t i o n o f 12 b a r s ( 9 2 - 1 0 3 ) where a s y n c o pated a r p e g g ia te d f i g ure g o e s through th e en tire strin g sectio n ex cep t the contra b a s s e s and b a c k a g a i n .
B ia.5
D
C# m i n .
23 (104-126) (on r e p e a t )
E x p o sitio n
rep eats.
T u tti
From b a r 1 1 4 t h e s e c o n d v i o l i n s a nd v i o l a s h a v e t h e same 1 6 t h n o t e d e s c e n d i n g , accompaniment*a l f i g u r e from t h e a i m o t i f and I t s I n v e r s i o n t h a t a p p e a r e d In t h e A them e.
129 N o . 7 “ IV D e v e l o p m e n t and R e c a p i t u l a t i o n D evelopm ent
- 98 b a r s
(127
(on r e p e a t )
The d e v e l o p m e n t i s b u i l t and c a r r i e s
to 224)
on r e p e t i t i o n an d s e q u e n c e
th e m odulation o f m o tif a^,
or a p o r tio n o f
t h r o u g h a s e q u e n c e o f many k e y s b e g i n n i n g w i t h F m i n o r and f i n a l l y e n d i n g w i t h B*> m a j o r .
The r h y t h m i c f i g u r e
i m p o r t a n t i n t h e d e v e l o p m e n t and i s R eca p itu la tio n Theme
Key
- 119 b a r s
B ars
s-^ i s
used f r e q u e n t l y .
(2 2 5 - 3 4 3 )
In stru m e n t of announcem ent
T reatm en t
A group A
39 (225-2 6 3 )
AX
A
8 (2 2 5 -2 3 2 )
F irst
a3
a
16 (232-248)
Wood w i n d s a n d f i r s t v io lin s
S t a r t s a t b a r 2 3 2 on rep e at.
XA^
A
16 (248-263)
A ll s tr in g s except co n tra basses
M odulates
R e tra n s.
v io lin s
R e p e a t e d 16 b a r s .
to D m inor.
D m inor to A m ino r.
11 (264-2 7 4)
B
A m in . 45 (275- 319) A
F irs t v io lin s w i t h wood w i n d s com ing in
A rp e g g ia te d f i g u r e in s t r i n g s from b a r 309" 319.
P
A m in.
T u tti
P a r t o f ax m o ti f and i t s i n v e r s i o n 1b used a s accom paniraental f i g u re in second v i o l i n s , c e l l o s , and v i o l a s .
A
C od a
A
24 (320- 343)
123 ( 3 4 4 ~ 4 S6 6 )
A lm ost e n t i r e l y worked —
_
- ------
—
—
j
tw o s m a l l s e c t i o n s ( 4 4 1 - 4 4 4 ) and ( 4 5 7 - 4 6 1 ) a r e B theme m a t e r i a l . O s t i n a t o b a s s 389~^09*
CHAPTER XI SYMPHONY NO. 8 IN F MAJOR - OPUS 93 SUMMARY F i r s t Movement - S o n a t a A l l e g r o 107
33
Trans 4
B 32
D 35
Recap 11 3
A 41
R etrans 4
B 32
D
A
Ex p o :
S e c o n d Movement - S o n a t i n a Ex p o :
40 Recap : 4 i
A 19
B 21
A 9
B 24
- 373 b a r s C odetta 3
Dev: 82 bars
Coda 71 b a r s
- 81 bars
bars C odetta 6 bars
T h i r d Movement - M in u e t an d T r i o - 7 8 b a r s Compound S o n g Form - T h r e e P a r t M inuet 44
T rio 34
M inuet ( r e p e a t e d ) 44 b a r s
F o u r t h Movement - S o n a t a A l l e g r o
- S02 b a r s
90
A 47
B V3
Dev: 71 b a r s
Recap: 105
A 62
B ^3
Coda 236 bars
Ex
po
:
SYMPHONY NO. 8 IN F MAJOR - OPUS 93 F irst
M ove m ent - S o n a t a A l l e g r o A lle g r o v iv a c e con b r i o
E x p o sitio n Theme
- 1 07 b a r s
Key
B ars
F
33 (1-33)
A group
12 (1-12)
21
F
- 373 t a r s
(1-107) In stru m ent of announcement
T reatm en t ___
V io lin s , th en wood w i n d s ; r e tu rn s to v io lin s a t end of 8 b a r s
A group of t h r e e bar phrases,
V io lin s
A 16 b a r d o u b l e p erio d plus 5 b ars e x te n sio n .
( 13- 33) T rans .
4 (34- 3 7 ) a-.' ■0 ”
&R1
tz
¥
UdrT
ClarS
£ [
r r V »«-I
m
»
!§ i I
B a r -21 7 f ; v u4>
I
r r
4
132 N o. 8 - I - E x p o sitio n con tinu ed Theme _______ B group
b2
31
Key
Bars
C
32 (37- 69)
D
14 ( 3 7 ”5 1 )
Instrum ent o f announc emept
F irst v io lin s and v i o l a s
18 ■ S t r i n g s and ( 52- 6 9 ) flu t e s
Treatm ent
( 1 ) A 9 b a r p h r a s e in v i o li n s goin g to C m ajor (3 7 " 4 6 ;; ( 2 ) A o b a r p h r a s e in C m a j o r (45*"5l)> wood w ind s, o v erla p p in g the 9 bar p h ra se. Secondary th em atic m a t e r i a l of' se q u e n c e and r e p e t i t i o n , e n d i n g i n C m ajor; 6 b a r s o f a r p e g g i o s in s t r i n g s and 12 b a r s l a r g e l y ex ten sio n chords. JE
133 No. 8 - I Theme
- E x p o s i t i o n c o n c lu d e d and D evelopm ent
Key
D group
Bars
In stru m en t o f announcement
Treatraent
C (69-104)
DX
C
22 (69-91)
T u tti; v io lin s a t b a r 83
S im ila r se c tio n s 10 and 12 b a r s .
of
°2
C
13 (92-104)
Wood w i n d s
An 8 b a r s e c t i o n p l u s 5 bars c a d e n tia l chords; s t r i n g s have accom panying 1 6 th note f ig u r e .
OU t
3
i
m
¥
J F;
r
F
B,
14
o f 10
Wood w i n d s
(289- 302) Coda (303-373)
New m a t e r i a l and m o d u l a t i o n s on m o t i f a ^ .
135 N o . 8 - S e c o n d Movement* - S o n a t i n a A lle g r e t t o scherzando E x p o sitio n
- 40 b a rs
- 81 b a r s
(1-40)
Them e Key B ars In stru m en t of T reatm en t ___________________________ a n n o u n c e m e n t ___________________________________ A
Bb
19 (1-19)
V io lin s, p o i n t e d up by w ood w i n d s
B roken i n t o I r r e g u l a r m elodic p h r a s e s b u t h e ld t o g e t h e r by rhythm ic p a t t e r n of accom pani m ent; m o d u la te s t o C In b a r 19 •
B group
F
21 (19-40)
B-
F
10 (19-29)
S trin g s
Goes t o F i n b a r 2 5 ; a 10 b a r p e rio d .
B,
F
11 (29-40)
V i o l i n s and w o od w i n d s
M elody b e g i n s i n o b o e s and c l a r i n e t s ; c a r r i e d on I n f l u t e s a n d strin g s.
♦ N o t e : No t y m p a n i i n t h i s
m ovem ent.
No. 8 - II
- R eca p itu la tio n
Theme K ey Bars ______________ Bd
9 (40-49)
B g r o u p Bb
24 (49-73)
B-
B1
B,
B'
C o d e t t a Bb
- 41 b a r s
Instrum ent of announcement
(40-81) Treatm ent
V i o l i n s and wood w i n d s
R e t u r n s t o B15; a 7 b a r p eriod p lu s a 2 bar ex ten sio n .
15 (49-64)
V io lin s
A 7 an d a n 8 b a r p e r i o d
9 (64-73)
V i o l i n s a nd wood w i n d s
A p e r io d •
8 (73-81)
A c lo s in g p eriod of c a d e n tia l m a ter ia l.
137 N o . 8 - T h i r d M o v e m en t - M i n u e t a n d T r i o Tempo d i m e n u e t t o Compound S o n g F o r m - T h r e e P a r t P r i n c i p a l Song A Two P a r t S o n g
M i n u e t i n F m a j o r - 44 b a r s
(1-44)
T reatm en t
T hem e K ey B ars In stru m en t of ___________________________ a n n o u n c e m e n t 10 (1-10)
78 bars
S tr in g s and b a s soons; f lu te s c ome i n
B ars 1 and 2 a r e i n t r o d u c t o r y ; a 10 b a r p erio d re p e a te d .
14 (10-24)
F irs t v io lin s; f l u t e s , and o b o e s come i n
Goes b a c k t o B ; t h r e e 4 b a r p hrases p lus 2 b ars c a d e n tia l ex ten sion*
20 (24-44)
B assoons and strin g s (o th er wood w i n d s added)
A 10 b a r p e r i o d w i t h a 2 b a r ex ten sio n p lu s a c lo s in g se c tio n of 8 b a rs .
v
A/ C m in.
A-^
C m in
A^
B ars 24-44
m
rep eated .
i
m
m FJ^ 153
i
138 N o . 8 ~ I I I - Minuet end T r i o c o n c l u d e d S u b o r d i n a t e S o n g - " B 5' T r i o A Two P a r t S o n g Them e
In F m a j o r - 3 4 b a r s
In stru m en t of announcem ent
(4 4 -7 8 )
T reatm en t
Key
Ba r s
F
8 (44-52)
H orns and c la rin e ts
A rep eated p e r io d .
C C m in.
26 (52-7 8 )
V i o l i n s on m e l o d y c l a r i n e t s and h o r n s on e m b e l lish in g fig u res i n accom panim ent
Three p e rio d s o v e r lap p in g each o th e r one b e a t p lu s an ex ten sio n of 3 b ars.
m
8tr- «4
PUP
T r ia C oy .___
I
tr *
m
t
m
is
i
........ t
5
1W P r i n c i p a l S o n g "A” M i n u e t r e t u r n s
e x a c t from b a r 1 t o
44.
139
N o. 8 - F o u r th Movement - Sonata A l l e g r o - 502 b a r s A llegro v iva ce E x p o s i t i o n - 9^ b a r s ( I - 9 0 ) Tlieme
Key
Ba r s
A group F
47 (1 -4 7 )
AX
P
10 ( 1 - 10)
A2
F
A1
F
In stru m en t of announcement
T reatm en t
V io lin s, p o i n t e d up w ith f l u t e s and oboes
Two 5 b a r p h r a s e s . The i m p o r t a n t drum m o t i f s u g g e sted in v i o l i n s .
7 , (1 0 -1 7 )
V io lin s
A 7 bar phrase.
30 (1 7 -4 7 )
V i o l i n s and wood w i n d s
G iv e n o u t t h r e e t im e s som e what m o d ifie d , ( 1 7 - 2 8 ), ( 2 8 - 3 6 ) and (3 6 -4 7 ); an 11, a n 8 a n d a n 11 b a r p h r a s e t h e l a s t i n C* The o n l y r e a l t r a n s i t i o n I s t h e s i n g l e n o t e G, s o u n d e d by e v e ry in s tru m e n t in th e o r c h e s t r a on t h e l a s t b e a t o f b a r 47# a n d r e s o l v i n g on A , the to n ic of th e f i r s t announcem ent o f .
T rans .
a* r
V flf-JL m — 7z !5~Zl:rtx3
—
IT
az
J— +Sr— J Jz Ji— J1 r j j- f i m - fI fl i_ ---1-
if
iL -f-
A*
140 N o . 8 - IV - E x p o s i t i o n *
c o n c lu d e d a n d D e v e lo p m e n t
Theme K ey B ars In stru m en t o f ___________________________ a n n o u n c e m e n t B group
C
Bl
T r e a tm e n t
43 (4 8 -9 0 ) 21 (4 8 -6 8 )
V io lin s
xB,
C
9 ( 68- 7 6 )
V io lin s
B.
C
14 (76- 9 0 )
V io lin s
G i v e n o u t t v I c e ; o n c e In v i o l i n s In (48 ~ 5 9 )> t h e n i n f l u t e 3 and o b o e s In C ( 6 0 - 6 8 ) .
G o in g t o F m a j o r .
BI MY *48
t?
D ev elo p m en t - 71 b a r s
(91-161)
D ev elo p m en t i s b y f r a g m e n t a t i o n , m o d u la t io n , and r e p e t i t i o n
t h r o u g h many k e y s o f m o t i f s a \ ,
sequence, a ip
and t h e i r v a r i a n t s and I n v e r s i o n s .
* N o te : T h is e x p o s i t i o n
is
n o t m arked f o r r e p e a t .
141 K o . 8 - IV - R e c a p i t u l a t i o n Theme A group
K ey
B ars
F
62
- 105 b a rs
In str u m e n t o f ann oun cem en t
(1 6 1 -2 6 6 ) T r e a tm e n t
( 1 6 1-223) 10 ( 161- 171)
A-
*2
P
A1
P
V io lin s
W it h g r e a t e r h a r m o n ic w e a lth th an in th e E x p o sitio n .
V io lin s
Goes t o 0 laaior*
V io lin s
M o d ifie d ; g iv e n o u t 3 t i m e s ( 1 7 8 - 1 8 9 ) and ( I 8 9 - 2 0 1 ) i n F an d t h e l a s t tim e i n F and C e x te n d e d t o 22 b a r s (201-2 2 3 ).
( 171- 178) 45 ( 178-2 2 3 )
R etra n s.
The r e t r a n s i t i o n I s e f f e c t e d I n t h e sam e way a s in th e E x p o s it io n , th e e n t ir e o r ch estr a s o u n d i n g C on t h e l a s t beat of bar 2 2 3 -
B group
43 (2 2 4 -2 6 6 )
12
Bi
xB2
(2 2 4 -2 3 5 )
V i o l i n s and F rench horns
(2 3 6 -2 4 4 )
C la r in e ts , f l u t e s and bassoon s
F
V io lin s (2 4 4 -2 5 2 )
Bo
F
14
(2 5 2 -2 6 6 )
V io lin s
E n d in g i n B ° m a jo r .
142 N o . 8 - IV' - Coda - 2 3 6 b a r s ( 2 6 7 - 5 0 2 ) A M o d i f i e d S o n a t a A l l e g r o Form E x p o sitio n
- 16 b a r s (2 6 7 -2 8 2 ).
Theme K ey Bars In stru m en t o f T rea tm en t ______________________________ a n n o u n c e m e n t_________________________________ A
16 (267-282)
S tr in g s , addi n g wood w i n d s
D e v elo p m e n t - 53 b a r s ( 2 8 2 - 3 3 5 )
R e c a p itu la tio n
- 167 bars
A group
56 ( 336- 391)
h
10 (336-345)
P a r tia l sta tem en t o f A In a d e v e lo p m e n ta l m anner. A f r e e s e c t io n ta k in g th e p la c e o f d e v e lo p m en t .
(3 3 6 -5 0 2 )
In c o m p le te ; p a rt o n ly .
la tte r
Ai
A
10 (345-3 5 5 )
V io lin s, b a s s o o n s , tym pan i; f l u t e s added
E n d i n g In F m a j o r .
Ai
F
10 (355-365)
V i o l i n s and oboes
E n d in g In C m a j o r .
A2
C
14 (3 6 5 -3 7 9 )
V io lin s
E n d in g in F# m a jo r
A1
D
12 (3 8 0 -3 9 1 )
V io lin s
R etra n s. D m in .
16 (3 9 2 -4 0 7 )
V i o l i n s and wood w i n d s
B
F
IS (4 0 8 -4 2 0 )
F lu te s , c l a r i n e t s , and bassoon s
ariB
F
19 (4 2 0 -4 3 8 )
B a s s e s and c e llo s
C od etta
F
64 (4 3 8 -5 0 2 )
■
G o in g t o F m a j o r .
8 b a r s p l u s a n 11 bar e x te n sio n . C a d e n tia l s e c t i o n ; d e v e lo p m e n t m o t i f s a 1 and a 2 *
CHAPTER X I I
SYMPHONY NO. 9 IN D MINOR - OPUS 1 2 5 SUMMARY F ir st E xp o : 158
A 67
R ecap: 126
A 37
Movement - S o n a t a A l l e g r o Trans 6
- 547 b a r s
B 77
xD 9
D ev: • ba r s 143
B 81
xD 9
xC oda 121 ba r s
S e c o n d M ovement - S o n g a n d T r i o Compound Bond. Form B T r io 117
A P r in c ip a l Song 413
- 559 b a r s
A P r i n c i p a l Song 395
Coda 29 bars
T h i r d M ovement - Theme a n d V a r i a t i o n s w i t h S e c o n d Theme - 1 5 8 b a r s In tro :
2 bars
A 21
T rans 1
l6
Trans 2
B 16
T rans 2
V a r .I I 16
V a r .I ll 35
B
V ar. 21
Trans 1 bar
I
Coda 2 1 ba r s
Trans
k
F o u r t h M ovement - Theme and V a r i a t i o n s w i t h S e c o n d Theme - 9 4 0 b a r s In tro : A Theme 24 V a r . IV 28 C od etta 8
91 b ars V ar. I 2k C od etta 4
V a r .I I 2k V a r .V 24
V ar. I I I 2? C od etta 4 bars
O rch estra B r id g e In te r lu d e P assage 26 85 bars
C o d etta 20 b a rs
V a r .V I 24
V a r .V I I I 52
I n tr o . to c h o r a l sec . 29
C od etta 10
B Theme 60
V a r. V II 93
V a r .I X 108
Coda 1 78 bars
SYMPHONY NO. 9 IN D MINOR - OPUS 1 2 5 WITH FINAL CHORUS ON SCHILLER'S "ODE TO JOY" F i r s t Movement - S o n a t a A l l e g r o - 5A7 b a r s A l l e g r o , ma n o n t r o p p o , un p o c o m a e s t o s o E x p o sitio n Theme
K ey
- 158 b a r s
67
T reatm en t
In stru m en t o f announcem ent
Bars
A group
(I-I 58)
A b in a r y form .
X
(1-67) A-^
D m in .
16
( 1 - 16 )
Ao 2
D m in .
19 (1 6 -3 5 )
At
D m in .
15 (3 6 -5 0 )
*2
B'
17 (5 0 -6 7 )
F ir st v io lin s and c o n t r a b a s s e s ; o t h e r s t r i n g s and wood w i n d s on a c c ompa n im en t
D o m in a n t c h o r d w ith o u t th e t h ir d .
U n iso n - a l l in str u m e n ts o f orch estra
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in chord
U n is o n - a l l in stru m en ts
6
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(6 8 -7 3 ) a1
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£
145 N o. 9 - I “ E x p o s itio n c o n tin u e d Them e
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B group B-
B ars
In str u m e n t o f ann oun cem en t
T r e a tm e n t
77 (7^ -150) B1
7 (7 4 -8 0 )
Wood w i n d s
C a n o n ic
xB,
IB (80-92)
C la r in e ts , oboes, f l u t e s and bassoon s
S e q u e n tia l p a s s a g e ; c a n o n ic
xB
10 (92- 101)
3
S t r i n g s and wood w i n d s
P u g a l. *
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