Beethoven Symphony No. 5-op.

67
In 1770, Beethoven was born in Bonn Germany. Growing up with an abusive
alcoholic father who felt insecure about his own sons musical talents has
forced Beethoven to support his family at an early age as an organist for a
church. At the age of sixteen, like many other aspiring young musicians at
the time, Beethoven went to Vienna for an opportunity to play for Mozart. In
1878, Beethoven played so brilliantly that Mozart himself said "Mark that
young man; he will make himself a name in the world!. Beethoven studied
under Joseph Haydn briefly, as he was quickly dissatisfied by Haydns
teachings. Being the stubborn man that he was, Beethoven made a living by
dedicating his renowned pieces to the rich in return Beethoven will be paid
handsomely. In his late twenties, he began to lose his hearing, but Beethoven
did not let this affect the quality of his music. He died at the age of 56 from
post-hepatitic cirrhosis of the liver.
Beethoven is considered a very detailed musician. During his life, he
transitioned through many musical styles including, but as he matured, he
began to develop his own unique style with more minor keys, accented,
longer movements. As Beethoven transitioned into romanticism, audience
started to not understand his music, to which he replied This is music for a
later time. Beethoven wrote some of the greatest symphonies of all times,
among which is Symphony No. 5 in C minor Op. 67.
The first movement is in the sonata allegro form which Beethoven inherited
from Haydn and Mozart. The movement represents chaos, as one can feel the
storm and the raging waves. The exposition starts with theme one,
introducing the motive long, long, long, short by clarinets and strings. The
motive will continue to reappear throughout the symphony. The bridge
connecting the first and second theme is played in fortissimo (loudly) with
French horns, modulating into a new key. The second theme is in E flat major,
played by woodwinds and first violins, it is more lyrical. The piano and legato
creates contrast, the four note motive in cello and bases provides a persistent
background. The exposition concludes in a codetta which primarily consist of
the first theme, ending the exposition with decisive perfect cadences. The
development section follows, opening with bold sounding French horns and
primarily draws on the first theme. The development utilizes variations of the
four note motive and expanding the forceful repetition. The recapitulation,
which consists of the first theme followed by a melancholic oboe solo, a
bridge in tonic key, the second theme in C major, and the codetta also in C
major. The movement concludes with a lengthy coda which restores C minor
while continuing to fragment and expand the first theme.
The second movement is in A flat major and consists of two themes with
variations. Theme A is constructed of ascending broken tonic triads and

characterized by elegant dotted rhythms. It is marked dolce and played

legato. Woodwinds and Violins are present in Theme B, which begins in A
major and shifts to C major, it is based on the motive. Like Theme A, it is
marked dolce and legato. There are four variations of the two themes in
total, each consisting variations in tonalities, instruments, speed, etc. The
movement is concluded with a coda which is marked Piu mosso, playing in
Theme A style.
The third movement is in C minor and ternary form. Scherzo and Trio, a style
introduced by Beethoven himself, replaces the more traditional Minuet and
Trio. Scherzo A of the first theme uses rocket theme initiated by the low
springs and played in pianissimo. Scherzo A of the second theme is forte
played by the French horn and the short-short-short-long motive returns. Trio
B is in C major, featuring the strings and woodwinds. It is played energetically
to contrast the dark Scherzo. Lastly, the Scherzo A returns, consisting of
Theme 1 (abbreviated), Theme 2 which is now played in pizzicato with strings
and staccato winds. Suspense is achieved in the end by a deceptive cadence
that leads to a transitional passage and a blazing crescendo leads to the final
movement.
The fourth movement is in C major and written in sonata allegro from. The
first theme is in tonic with majestic fortissimo trumpets. The bridge
connecting the first theme to the second features the French horn and leads
to G major. The second theme of the Exposition is constructed of a new triplet
figure that introduces a vigorous theme and contains the motive. The
exposition is concluded with the codetta played by wood winds and violas
descending in four note fragments. The development is based on the second
movement, though towards the end the Scherzo theme unexpectedly returns
played in pianissimo. The recapitulation follows, all musical material returns
but the tone remains in C major. In the final coda, the piccolo rise above the
orchestra playing rapid ascending scales. The symphony is drawn to a
conclusion, ending dramatically and triumphantly with the final tonic chord
repeating several times.