UNIVERSITY OF KENTUCKY

FINE ARTS BUILDING

DEPARTMENT OF MUSIC

MUS 622 SYMPHONIC MUSIC

PROF.: DR BEN ARNOLD

STUDENT: FERNANDO VAGO SANTANA

THE BEETHOVEN SYMPHONY PROJECT

LEXINGTON

2013

THE BEETHOVEN SYMPHONY PROJECT

Work analyzed: L.V. Beethoven – Symphony no. 1 in C Major op. 21.

Chosen recording: Leonard Bernstein conducting the Wiener Philarmoniker,

available at < http://www.youtube.com/watch?v=E_ZicjLYKWQ>. Accessed in

January 21st , 2013, at 10:27 PM.

The first symphony written by Beethoven has a conventional design , feature that

relates it to the predominant aesthetics of the 18 th century , particularly aligned

with the way F.J.Haydn composes his symphonies. This work is a very

representative of the so named Beethoven’s 1st period, even though it was

written already in the 19th century, in 1801.

Classical characteristics are abundant in this symphony, but it is already possible

to observe the innovative tendencies of the German composer, as commented

below:

1st Movement – Adagio molto – Allegro con brio

This symphony contains a slow introduction, written in common time (C). It is a

tonal work as expected, but the opening avoids the obvious. While a traditional

symphony would be started but the rhetorically steady affirmation of its tonality,

Beethoven’s first starts with a cadence towards the subdominant, followed by a

deceptive cadence and a half cadence towards the dominant. During the Adagio

opening there is no clear statement of the C Major tonality, what gives to the

listener a sense of expectation , uncertainty and curiosity.

However, when the Allegro section is started, the monumental tonality of C Major

is assured. Now the music is written in 2/2 , becomes lively and energetic. This

symphony sound humorous and jolly, although very lyrical, especially in the

sentences and phrases stated by the woodwinds. This is a Beethovenian feature,

according to Stedman, who states that Beethoven’s orchestra is composed of

two chorals : one of the strings and another of the woodwinds (Stedman, 1992, p.

81).

This symphony , well performed for an also humorous and jolly Bernstein can

match well the elements of vigor and lyricism , reflecting the tendency of the

composer to explore contrasts in dynamics and character.

2nd movement – Andante cantabile com moto

This is an extremely gracious movement, written in the tonality of the

subdominant of the main tonality (F Major, subdominant of C Major), that

curiously was the first diatonic triad from the tonality of C Major reached in the

opening of the 1st movement.

The canon displays the taste and skill of Beethoven for writing in fugato style ,

and the triple meter also gives a gracious dance-like character for this

movement, that might be understood as a minuet or even a more traditional

dance in triple meter such a Passepied or a Corrente. While the composer

explores different dynamic gradations , he builds the movement by keeping

similar rhythmic and melodic structures. This technique conveys a strong

sensation of unit along the movement.

3rd movement - Menuetto: Allegro molto e vivace.

This movement deserves special attention. It is entitled Menuetto , written in

triple meter, but surprisingly , the composer indicates Allegro molto e vivace and

requests an extremely fast metronome mark. The way the music sounds makes it

in contradiction with a traditional Menuetto character. The listeners would be

expecting something quite similar with what was heard in the previous

movement, but this music sounds extremely energetic and fast.

If the Beethoven works are all considered, and also taking in account the opinion

of Leonard Bernstein (available at : http://www.youtube.com/watch?

v=G6H4xCLKsC8), this movement is a remarkable revolution carried out for

Beethoven. It is the beginning of the use of a Scherzo instead of a minuet in the

symphony. The written structure remains the same applicable to a Minuet, but as

well stated by Bernstein, if performed with “minuet character”, it sounds dull and

unexciting. But it sounds convincing, indeed, when performed according to the

indications of tempo and character recommended for Beethoven.

There is much excitement in this movement, and the use of syncopations is

extremely interesting. This music communicates a lot of joy. The contrasting

sections with lighter textures are peaceful, usually played by the woodwinds, in a

dialogue with strings.

4th movement – Adagio – Allegro molto e Vivace

This is a symphony filled with surprises. Again, the 4 th movement starts with a

slow introduction, what again gives to the whole work a sense of unit. The

textures for the very beginning are very light and this character remains until a

violent dynamic contrast takes place.

Rarely a symphonic movement can be as exciting as this one. But clearly it is

bound to a classical tradition, and even though innovations are observed, the

work fits appropriately to the symphonic style of the Classicism.

Work analyzed: L.V. Beethoven – Symphony no. 2 in D Major op. 36.

Chosen recording: Paavo Jarvi conducting the Deutsche Kammerphilharmonie

Bremen, available at < http://www.youtube.com/watch?v=VAnjfp7vUvA>.

Accessed in January 21st , 2013, at 11:14 PM.

The conductor Paavo Jarvi does not have the charisma and spontaneity of

Leonard Bernstein, but takes in deep consideration the written score and did an

acceptable performance of Beethoven’s 2nd Symphony.

The 2nd Symphony was written between 1801 and 1802. Alongside the first one,

it remains Classical in approach. The first orchestral attacks are actually much

more predictable than in the 1st symphony. Here the tonality is showed without

any tricks. And instead of smooth feminine cadences, the composer starts with

fortissimo , but suddenly write piano. He makes a contrast between both

dynamics and orchestration (tutti vs woodwinds).

1st movement - Adagio molto, 3/4 – Allegro con brio, 4/4

Measure 11 is catching for a daring modulation for chromatic third. From D Major

the music moves to Bb major. Generally speaking , this symphony is more

imposing than the first one. It is a great piece, with some unforgettable elements,

but it lacks the interest and jolly character of the first symphony. This opinion

might be bound to the conductor in question, but as a matter of personal taste,

the C Major sounds more convincing.

Some textures, particularly for strings, start to become more filled with density.

Many sfz and dynamic contrasts can be observed in this movement.

2nd movement - Larghetto, 3/8 in A major

There is a lot of smoothness in this movement. It sounds calm and delicate. But it

still conserves a dramatic character, that , as a matter of fact, is more intense in

this symphony than in the first. The use of the horns is interesting, as an

instrument with melodic content.

3rd movement – Scherzo Allegro ¾

This movement is extremely interesting. It is filled with surprises that are born

from the dialogues between orchestral parts , humorous sequences and exciting

chromatic crescendos. It is a great game of interaction between different parts,

and the whole orchestra is engaged in the music. This movement has many

elements of the Beethovenian style , like trills and arpeggios in unison texture

written in forte dynamics. Again the horns have an interesting melodic impact.

4th movement – Allegro molto, 2/2

The opening sounds a little weird and out of balance. But the strings following the

opening gives a feeling of excitement for the movement. The same element used

in the very beginning come back eventually. It accentuates an off beat tempo,

another Beethovenian feature. It contains lots of contrasts of mood , tonalities

and it is structurally a rondo, always restating the first “unbalanced” chords.

The subito forte in the coda is interesting, when the tutti follows the smooth

sound of the violas alone. This movement is exciting and it finishes with a

Classical style, in very good taste for Haydn, for sure.

According to Bernstein, even though this symphony is still under the shadow of

Haydn, the concept is much larger and it is a preparation for the following 3 rd

symphony. (http://www.youtube.com/watch?v=waB1ReEB5nA)

Work analyzed: L.V. Beethoven – Symphony no. 3 in Eb Major op. 55.Chosen recording : Arturo Toscanini conducts the Toscanini NBC Orchestra ,

1939, available at < http://www.youtube.com/watch?v=8b73k4iJu0k>. Accessed

in January, 21st, 2013, at 11:44 PM.

This symphony is known as Eroica and is inspired in Napoleon. It was completed

in 1804 and it is the work that starts the “middle period” in Beethoven’s life. A

more mature personality of the composer starts to be displayed, and the Haydn

precepts starts to be left behind in his works.

The work is written in four movements, commented as follows:

1st movement – Allegro con brio

It starts with powerful Eb chords. There is no doubt of the heroic character of this

symphony. It is extremely vigorous and exuberant. The first movement is at once

majestic and powerful. Many dissonant chords are used and there is an insistent

emphasis on accentuations off beats. At some point such accentuations are

performed in order to emphasize wildly dissonant chords, absolutely shoking for

the composer’s historical context.

The lyrical sections are so beautiful that hardly seems to be part of the same

work that contains vigorous dissonances and attacks.

The movement is very large and has tremendous rhetorical impact, again

reinforced for the genial use of contrasts employed for Beethoven.

2nd movement – Marcia Funebre : Adagio Assai in c minor

Sadness fills the atmosphere of this funeral march. The cello lines are dark and

spooky. The music is gloomy. The oboe line is beautiful and filled with sadness,

while it plays accompanied by the strings and the horns. This movement is as

painful as dramatic. It is filled with grief from the beginning to the end.

3rd movement – Scherzo: Allegro vivace

This is a powerful scherzo performed in an extremely fast tempo and with a

vigorous character. The music seems never to stop, except for when accents are

written. The speech is very fluid and the movement grows in intensity towards the

tuttis. The contrasts in dynamics are performed by strong tuttis and lively strings

sections.

4th movement – Finale: Allegro molto

The 4th movement starts extremely loud and fast. Lots of energy are contained in

the opening. Suddenly it becomes soft and playful, with some sudden attacks in

forte. This movement illustrates well the relevance of pauses in Beethoven’s

speech, as well as one of the motives is rhythmically identical to the main motive

of the later 5th symphony.

The Poco Andante section has a noble character. It is gracious and explores

many colors from the woodwinds.

This recording has almost 50 minutes, what makes the 3 rd Symphony a very

large work when compared to the first 2 symphonies, as well as those composed

by Haydn and Mozart.

Bernstein states that this symphony is furious even when it is lyrical. He asks the

listener to imagine hearing the first movement for the first time, with those

insistent dissonant chords and sforzatos. He also considers that the 3 rd

symphony is filled with charm (http://www.youtube.com/watch?v=CNyla5QfN-Y).

Work analyzed: L.V. Beethoven – Symphony no. 4 in Bb Major op. 60.Chosen recording : Rene Leibowitz conducts The Royal Phillarmonic Orchestra < http://www.youtube.com/watch?v=Nu3Fhp7LryE >. Accessed in

January, 22nd, 2013, at 12:22 AM.

The 4th symphony starts mysterious and in interrogative tone. It was written in

1806. According to Stedman (1192, p. 71), this symphony preserves the best of

Haydn and Mozart but still contains the individuality of Beethoven. Apparently the

motivation to write this symphony was launched but a good offer of money

proposed for the Count Franz von Oppersdorff. Not as revolutionary as the 3 rd

symphony, the 4th is special for containing in its structure very distinct moods.

1st movement – Adagio – Allegro Vivace

The opening section is slow, and as said, mysterious in character. The Allegro

vivace that follows is jolly and very exciting. Many contrasts of dynamics and of

mood , presence of imitation between parts and exciting syncopations.

Excluding the idiossincracy of the slow opening, this is another symphony that is

closely related to the Classical style of Beethoven. Not many innovations are

observed such as in the 3rd symphony.

2nd movement - Adagio

The lyricism is beautifully explored in this movement, both for strings and

woodwinds. Some phrases in cantabile are gorgeous , and the sense of steady

pulse and structure is very well shown. Leibowitz was famous for performing the

symphonies obeying the original metronome markings by the german composer.

3rd movement – Allegro vivace

This movement contains the vivacity and jolliness of the 1st symphony. The

interactions between parts in the orchestra are remarkable. Sounds like a rondo

and it contains a few humorous elements.

4th movement – Allegro ma non troppo

Despites the “non troppo” indication, the tempo is extremely fast, requiring great

breath. It is interesting how the accents on chords off beats create a sense of

excitement. For such a performance a very well prepared set of strings in the

orchestra is required. Their part is very demanding.

Bernstein (http://www.youtube.com/watch?v=DAVt299d6kY) assures that this

symphony is a pack of surprises, specially when the elements are related to the

opening, that is very mysterious. The very beginning is a lugubrious prelude , the

second movement is filled with passion. The scherzo is wildly syncopated and

the finale is very virtuosic.

The symphony can arrange in its components many different rhetorical traits and

that is what make this 4th symphony a master work of music. A good performance

requires elements of mysteriousness , jolliness, great breath, smoothness,

wildness and a particular sense of informality , that brings to life the marvelous

experimentations proposed for the composer. Leibowitz know how to bring every

aspect of those to life.

Work analyzed: L.V. Beethoven – Symphony no. 5 in C minor op. 67.Chosen recording : Herbert von Karajan conducts the Berlin Philharmonic<

http://www.youtube.com/watch?v=RdXFDqVf3o4>. Accessed in January, 22nd,

2013, at 12:52 AM.

Probably the most famous symphonic work of the whole history of music, it is

hard to imagine a more dramatic symphony that Beethoven’s 5 th. Alongside with

the 3rs (and later the 7th and the 9th) this is considered one of the works in which

the composer flew freely and expanded the possibilities of composition to

unimagined levels.

All the work is derived from the motivic anticipation from the very beginning.

Karajan’s recording is slightly slower than some others conductors, but extremely

well structured.

1st movement – Allegro con brio

This movement is remarkable for its drama. It is also very powerful and could be

said that filled with anger. In terms of the textures, the switch of parts between

the orchestra is amazing. The horns are very useful in this movement in this

sense, by dialoguing with the strings. It is easily audible that the whole movement

derives from the first four notes. Closely to the end there is an extremely

dramatic fermata over a pedal, whose texture is so thick that the amazement and

excitement of the listeners is a must.

Some lyrical contrastant elements on this movement, shared between violins and

woodwinds makes it a little lighter in density. It is followed by some elements in

major tonality, but sooner the dramatic aspect of the speech is restated.

2nd movement – Andante com moto

The second movement, in contrast with the first, is very peaceful. Sounds even

bucolic. The participation of the double basses and timpani here are formidable.

The trumpet calls make it sound noble, elegant. One might inquire how could

such a beautiful continuation emerge from a very dramatic first movement, but

the genius of Beethoven is capable of that. The mood change is extreme , but

hardly noticeable.

3rd movement – Scherzo, Allegro

This scherzo starts soft and mysterious. The horn calls make it very heroic and

intense. A fugato in C Major is started , exploring many colors of the orchestra. It

is an intense section, demanding technically and musically gorgeous. Again it

gets soft and gentle, C minor is recovered as a tonality in the music and , in soft

dynamics, it restates the motive first presented by the horn in the beginning.

4th movement – Allegro

This is an excitement movement, in C Major. It is written with fff (forte fortissimo)

in the very beginning. No doubt of its intensity. Tremendously exciting , noble and

powerful, and connected as an unit to the predecessor movement. This

symphony has a great finale.

Bernstein (http://www.youtube.com/watch?v=luQdlGlYU70) affirms that

Beethoven was looking for the correct notes , and that the composer rewrote this

movement many times until he found the correct ones.

Work analyzed: L.V. Beethoven – Symphony no. 6 in F Major op. 68.Chosen recording : Wilhelm Furtwangler conducts the Berlin Phillarmonic<

http://www.youtube.com/watch?v=l8U_-xGgreY >. Accessed in January, 22nd,

2013, at 1:20 AM.

The 6th symphony is named the Pastoral Symphony, and each movement has a

title given by Beethoven himself, what gives to the work a programmatic

character. It was completed in 1808. The piece has 5 movements , each one

depicting a bucolic scene.

1st movement – Allegro ma non troppo

This movement is very calm, filled with a bucolic character. At some points it has

some peaks of intensity, but without lose the character of simplicity, and forte

statements are usually followed by extremely calm phrases. It seems to be a

different composer then the angry person from the 5th symphony.

The rhythm has figurations always repeated during the movement. The final

chords are surprisingly in piano.

2nd movement – Andante molto mosso

It keeps the character of the first movement, being peaceful as well. It is written

in Bb major , in 12/8, a unusual meter specially for Beethoven’s time. Light

textures and refined embellishments decorate this delightful movement. The 6 th

symphony can be considered the more relaxing and delightful to hear from the 9

written by Beethoven. The woodwinds have lots of participation in the movement.

3rd movement – Allegro

Gracious and joyful. This movement is connected to the 4th movement – Allegro ,

where it is felt a storm in the peaceful Pastoral environment. The Tempest is very

well described in Beethoven’s writing.

5th movement – Allegretto

Song of shepherds. It is hard to hear something as beautiful as this movement. It

is a jewelry of the repertoire. It sounds very naïve, almost religious. There is

nothing exaggerated , even when it grows in intensity it still sound like a folk tune,

and it is very pleasant to hear.

The movements from 3 to 5 are actually connected, what gives to the whole work

a strong sense of continuity. The idea of separated movements is not evident in

this work, that behaves itself like a larger continuous form.

Leonard Bernstein (http://www.youtube.com/watch?v=zewwjk6a8SA) says that

the finale of this symphony is glorious, even though it is not fast.

This symphony is also filled with surprises. But instead of intense and exciting

surprises, this one tends to move the listeners to a deep state of peace. The

elements individually considered may sound uninteresting and too concise, but

when they are brought together to build the whole form, a wonderful symphony is

born. This work proves the ability of Beethoven to be as restrained as intense.

Work analyzed: L.V. Beethoven – Symphony no. 7 in A Major op. 92.Chosen recording : Daniel Barenboim conducts the West Eastern Divan Orchestra < http://www.youtube.com/watch?v=Tjvh7B-urLA>. Accessed in

January, 22nd, 2013, at 1:43 AM.

The 7th symphony, in A Major, was completed at 1812. It is one of the

progressive symphonies, alongside the 3rd, 5th and later the 9th. In those

symphonies Beethoven abandon some traits of his classical origin and starts to

express fully his own personality , starting to open the path to a new era, the

Romantism. This symphony was widely popular, specially concerning to its

Allegretto.

1st movement – Poco sostenuto

Such an indication as poco sostenuto is already innovative , since something

more conventional such as Allegro or Adagio is avoided here. This movement is

very vibrant, and romantically dense. The woodwinds phrases are particularly

beautiful and well written. Beethoven gives to the clarinet an important role in the

orchestra.

Some dissonant chords are used without any distrust. Another feature typically

Beethovenian is the emphasis in week beats, phenomena that displaces that

expected metric of the music. The embellishments he uses are gorgeous and the

orchestral tuttis very intense. The volume contrasts and the dialogues between

strings and winds show the accuracy of Stedman’s affirmation that Beethoven’s

orchestra is a pair of choirs (strings and woodwinds).

The first movement is very long.

2nd movement – Allegretto

This movement sounds disturbing, mysterious. It is written in a canonic style and

the effect is of uncommon beauty. This movement is very lyrical, but sounds

more mystical than passionate. The effect of the fugato is delightful.

3rd movement – Scherzo

This scherzo is lively, joyful and contrasts widely with the 2nd movement of the

symphony, and as usual in Beethoven, explores well a switch of parts between

sets of strings and woodwinds, and culminating in ecstasic tuttis.

4th movement – Allegro con brio

This movement has a dance character, is extremely vivid. It sounds more

classical. It has powerful sections that contains tuttis followed by subito pianos. It

also shows to the listeners the relevance of the pauses and rests in Beethoven’s

music.

Bernstein (http://www.youtube.com/watch?v=OuYY1gV8jhU) shows about this

symphony that the form is its diferential element. According to the renowed

conductor , Beethoven was not great about composing any element isolated

considered. His melodies were not special, so were not his harmonies, for

instance. But when he puts everything together, giving to the work a sense of

form, it suddenly becomes so wonderful, that it becomes hard to imagine that a

different note could be in the score. It is like the notes he write were the only

possible to write in order to achieve the marvelous results of his music.

Work analyzed: L.V. Beethoven – Symphony no. 8 in F Major op. 93.Chosen recording : Otto Klemperer conducts the New Philharmonia Orchestra < http://www.youtube.com/watch?v=KLhAHAkQSIc>. Accessed in

January, 22nd, 2013, at 2:17 AM.

Compared to the 7th and the 9th symphony, the 8th seems to be very classical and

very simple. There is nothing huge about it if compared to the 9 th symphony for

instance, but there is no doubt that it is also great composition. It is interesting to

close the cycle how Beethoven had tendencies to be more progressive in one

symphony, and right after, get back to be a little more conservative in the

following.

It is said that Beethoven considered this Symphony as his little symphony in F,

because it contains modest proportions when compared to the Pastoral

Symphony, also written in the tonality of F Major.

This symphony has 4 movements, as expected.

1st movement – Allegro vivace e con brio

This is a powerful and vivid movement. The dynamic contrasts are very evident,

like when a subito piano comes right after a powerful tutti. Pauses are relevant

elements of speech in this structure. The form is not very large, specially if

compared to the 7th and 9th symphonies. The 8th is shorter.

2nd movement – Allegretto scherzando

For a second movement , this one is very surprising actually. The articulation of

staccato is widely used; the piece mood is happiness ; it is built over a dance like

style and it is possible to detect some effects of syncopation. This is a very

innovative feature for a symphony, since the mandatory slow movement is

replaced for another fast one. If one precisely investigate, he or she will always

realize that Beethoven is doing experimentation with concepts and ideas that

have not been explored yet for his predecessors.

3rd movement – Tempo di Menuetto

What catches the attention in this movement are the off beat accents , the

traditionally named female terminations, that are more delicate than the

traditional perfect cadences. Also the clarinet and horns parts are interesting in

this movement and they receive a special treatment in the orchestra here.

4th movement – Allegro vivace

The final movement of the 8th symphony is very exciting and vivid. The Rondo

form can be detected. It is also filled with a humorous character.

Bernstein (http://www.youtube.com/watch?v=0jJ8PtwwqZs) tell us that people

say about the 8th that it is all about jokes and has no much substance. But he

points interesting things about the 2nd movement. Specially from bar 136, where

Beethoven writes ff and keep asking for more loudness. There are many

sforzatos and the finale is reluctant to finish. Bernstein says this is one of

Beethoven’s larger forms. At least 5 codas with development are written for the

composer.

Work analyzed: L.V. Beethoven – Symphony no. 9 in D minor op. 125.Chosen recording : Sir Roger Norrington conducts the London Classical Players< http://www.youtube.com/watch?v=Hg5vABFHgpU>. Accessed in

January, 22nd, 2013, at 2:42 AM.

The 9th symphony is a work that can’ t be compared to anything else. It is of such

a greatness and originality that is impossible not to consider. It is also the first

time that a composer included voice soloists and choral in a symphonic work.

The work contains 4 movements, but they are considerably larger than

movements from other symphonies. The whole performance usually exceeds

one hour. Stedman analyzes in details the work and shows how differences in

the orchestration and the use of Schiller’s poem makes the work much richer

(Stedman, 1992, p. 73). The work was completed in 1824.

1st movement – Allegro ma non troppo, un poco maestoso

This movement contains many moods. It is disturbing, powerful, dramatic and

tense. It also contain violent contrasts, especially related to dynamics, as well as

exciting accents on off beats. The timpani is used in a wild and dramatic manner.

Sometimes the music becomes very dolce (sweet) but suddenly the drama

comes back. It is impossible to hear this work passively. The listener is

constantly provoked and react emotionally to this.

2nd movement – Scherzo: Molto Vivavace – Presto

Particularly interesting about this movement is the use of contrapuntal language.

It is also written in a minor key, but the character is more playful (scherzando)

than the more dramatic first. This music tends to tease the listener and not to let

them act passively, but interact mentally with the music.

A new concept is introduced: the rhytme de tre battute in order to indicate

hypermeter textures of 3 measures. Each whole measure counts as a single beat

and they are grouped 3 measures at a time. Also wild timpani attacks are heard

in the movement. Some of the hypermetrical structures produces syncopations

between measures, a very interesting displacement effect.

3rd movement - Adagio molto e cantabile – Andante moderato – Tempo primo –

Andante moderato – Adagio – Lo stesso tempo.

The counterpoint in the beginning is very interesting. It is a delightful choral.

Beethoven proceeds a daring modulation from From Bb to D Major, exploring

chromatic thirds. This movement is really dense and intricate. A little

complicated to grasp. Sounds someway aquatic. This symphony contains many

mystical aspects that probably reach our minds and ears in a subliminal level.

4th movement - Recitative: (Presto – Allegro ma non troppo – Vivace – Adagio

cantabile – Allegro assai – Presto: O Freunde) – Allegro molto assai: Freude,

schöner Götterfunken – Alla marcia – Allegro assai vivace: Froh, wie seine

Sonnen – Andante maestoso: Seid umschlungen, Millionen! – Adagio ma non

troppo, ma divoto: Ihr, stürzt nieder – Allegro energico, sempre ben marcato:

(Freude, schöner Götterfunken – Seid umschlungen, Millionen!) – Allegro ma non

tanto: Freude, Tochter aus Elysium! – Prestissimo, Maestoso, Molto Prestissimo:

Seid umschlungen, Millionen.

This unforgettable movement is the one who introduces the Ode to Joy theme,

first in the low strings, and later using voices and choir. In Stedman’s opinion (p.

75, op. cit.), the movement gives an almost religious connotation to joy. It is hard

to describe the infinity of sensations that arise to a listener after having contact to

this movement. But one thing is for sure : no one is the same person after

accurately listening to this movement.

ANALYSIS OF ONE MOVEMENT

BEETHOVEN’S SYMPHONY NO 7 IN A MAJOR OP 92 – 2nd MOVEMENT

The following analysis is built taking in consideration the opinion of Stedman

(1992, p. 84-85).

This movement is written in A minor, 2/4, and can be understood as a variation

form and song form with trio. Structurally it has a five-part form and the trio

appears in between variations twice. The theme starts with the first measure and

the first variation starts at measure 27. The second variation at measure 51 ; the

3rd variation at measure 75. Then there is the Trio at measure 102 ; Variation 4 at

measure 150; variation 5 (a fughetta on the rhythmic theme) at measure 183.

Trio again at measure 225 and finally coda at measure 243.

Tonally speaking, the work starts at A minor and modulates do A Major at

measure 102. In this section in A Major Beethoven uses some chromatic

harmonies but not enough to modulate. He modulates back to a minor then back

to A major ; then back to A minor and keeps it till the movement is over. There

are two intermediate sections written in A Major, and the rest of the piece is in A

minor.

The orchestration is made in pairs of winds, plus timpani and strings. It is scored

for 2 flutes, 2 oboes, 2 clarinets in A, 2 bassoons, 2 horns in, 2 trumpets in D,

timpani, and strings. Beethoven writes many elements in this movement with a

contrapuntal texture. There also homophonic textures and choral (isorhythmic)

texture.