INTRODUCTION TO MUSIC-MUSIC F001

Listening lab- Symphony No. 5, Op. 67, 3rd (17:59)and 4th movements (22:47) by Beethoven

The first movement of the Symphony No. 5, Op. 67 by Beethoven is in sonata form. As discussed in the last class, the sonata form is made up of three sections; exposition, development, and recapitulation. The exposition is repeated on the given video at track time 02:26 while the recapitulation begins at track time 05:20. An oboe does the solo cadenza at track time 05:31. Beethoven re-orchestrates the coda in the first movement differently as he integrates the entire orchestra to intensify the overall nature of the coda. The timbre of instruments such as the brass section brings out the powerful and grandiose character of the coda. He uses syncopated rhythmic patterns with accents on the strong beats which move the energetic music forward hence highlighting the music intensity during the coda part. Beethoven also varies the main melodic theme during the coda and incorporates dynamic contrasts in an attempt to capture the listeners’ attention. The second movement is in double (two) variation form where two music themes are varied (theme and variations). The second movement also has two themes each with its own variations. The themes are also in the tonic key, a flat major. 

Beethoven in the third movement of the fifth symphony opts to use the scherzo and trio (ternary) form instead of the traditional minuet and trio form. The only remarkable re-orchestration done by Beethoven is the transition heard before the first theme of the fourth movement. Beethoven integrates dynamic contrasts creating tensions and crescendos before the fourth movement’s first theme. The three main features of Beethoven’s symphonic style are; rhythmic drive, motivic consistency or unity, and psychological progression. The above features are all integrated in the fifth symphony as from the first movement to the end of the fourth movement all of the features are experienced. Rhythmic drive is emphasized by the use of syncopated rhythmic patterns with accents on the strong beats enhancing the sense of blunt power of the piece. Motivic consistency is marked by his use of a more vivid musical motive which is heard in different forms as the piece proceeds (Kerman & Tomlinson, 2015).

References

Kerman, J., & Tomlinson, G. (2015). Listen-Bedford, St. Martin’s (2015).PDF. Google Drive.

https://drive.google.com/file/d/1OQa-jGj2JYOAwqKzeIygo7uWtUsIDzOS/view

YouTube. (2019, January 17). Ludwig van Beethoven 5th symphony by Herbert von Karajan. YouTube. https://www.youtube.com/watch?v=D-_wqx76mpc