10

SYMPHONY NO. 1 in C MAJOR, on. 21

Composed in 1800
Ludwig van Beethoven
First Movement: C major; Adagio molto - Allegro con brio
Sonata Allegro Design

g 1 (1) After three measures of uncertain mood (chords), a defi- 1\ Adagi? ___
.• J I J
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t-<
nite tonal level is reached and strings continue with flow-
"
2:i ing, placid" theme. 1
&I j;. :; ~ 7
~
C'r~.sC•
. ./;-
..ci 13 (2) Begins unostentatiously in violins (major), is repeated .IP
t-< one step higher (minor); after further repetitions "----,6
11 ~ ~ ~'I:a;
<=: of fragments of (2), the mode returns to major
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~ and leads without pause into the Episode. 2
p
.' j U ... ···.·· ,---. -&

!l.> 33 (3) Continuing the mood of (2), but with more

•
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0 vigor and sonority, the Episode serves to
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conclude the Main Theme and prepare for yr-
z ~ new key, ending with crisp cadence. 3 ~~ 'd I
9
t-<
53 (4)' Opposite in mood of (2), the one-measure figure of (4) is tossed
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00 t-< about between oboe and flute; repeated by violins and flute. Theme
Oboe Flu~ Oboe"
0 is more tender- G maior.

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><: ::s 69 Vigorous, rhythmic and chordal conclusion to (4); prepares for
~ en c3

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79 (5) Another plaintive theme, different from (4) yet continuing the
mood Serves as a transition.
4
M rrJ~J~
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l
p .. '
1
f~\trr~
' ...
I
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88 (2) Fragments of theme are used - fortissimo - to summarize all

!qeir- wTFU leg

.5 of the thematic material presented, and effect a conclusion of
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'" the Exposition.
5
G 100
M
After an alternation of cadence chords, violins descend on the p
dominant harmony to lead without pause into the Development Group.
110 Identified by a crisp, torte chord, material derived from (2) is
'""'
presented on three ascending key levels.
t-< 122 The arpeggiated chord in measure four of (2) is now employed as
Z the subject matter' of this section, spread on different harmonic
~ "(;j
'" bases.
~
p. <=:
0
...:l
:3o 144 Three quiet statements of a motive derived from (2) succeed one another on ascending pitch levels.
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en
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Cl 160 Fortissimo repetitions of fragments of (2). Minor mode predominates. Sharp and emphatic cadence in key foreign
..•. to the le~l of com.!ng Recapitulation. Transition is effected through a simple melodic phrase .

..ci 178 (2) Recurrence of Main Theme contrasts in sonority to the original statement in measures 13 et seq. Full orchestra,
t-< fortissimo, with melody in octaves for j;i:illiance. Note the omission of Episode, and change in end of Main Theme
<=: to effect return of Sub. Theme in tonic key.
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9

--
t-< 206 (4) Thematic material is repeated from 53-68, but with modifications in instrun:Lents employed. The key level is lower,
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t-< and consequently less bright. Symmetry with the identical passage i"ii.the Exposition is maintained.
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p. en c3 222 Similar to measures 69-78. Forte, vigorous, rhythmic, chordal theme.
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'""' 232 (5) While the tonal level is different, the thematic material and color (oboe) is copied from 79-86. A transition.
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.5 241 (2) Returns forttsstrno, full orchestra and in the tonic key.
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G M 253 Identical with 100- et seq. Fortissimo tonic and dominant chords alternating lead into Coda.

260 (2) Returns in violins in tonic key, while woodwinds suggest the harmonic structure of another, lower key. The section
'""' is concluded by several sharp, percussive chords.
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< <=:
Cl
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:3 277 (2) As peroration to the thematic material most important, and as emphasis to the principal key of the movement, the
o o motive derived from (2) is repeated in a fanfare, rising through the orchestra on the Single chord of C-E-G.
!l.>
en '"
298
INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.
 11

SYMPHONY NO.1 in C MAJOR, Op. 21

Composed in 1800
Ludwig van Beethoven
Second Movement: F major; Andante cantabile con moto
Sonata Allegro Design

\
11 (1) Basic melodic idea is 6 measures in length, announced by 2nd violtns; answered by violas-cellos; 3rd entrance in
bassoons and basses; 4th statement by upper instruments. The effect of cumulative intensity is obtained by this quasi
~ fugal presentation of the subj ect as distinguished from the

.S
01
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usual period design with balanced antecedent and conse-
quent. A 2-measure motive, repeated several times
serves as a codetta to the subj ect. 1
1\

.•..... ..
- r---..
.. .~
-
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....
0
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Eo< 27 (2) This subject contrasts sharply with (1) in style. It is short-breathed.
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8 The first 8 measures employ the strings predominantly; Repeated and modified by modulation trends, it is stated by
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iJ< ..c winds with comments by the strings. The key level is that of the
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dominant with clear cadences at the ends of each of the two long n r--I\ ~l'l ~t\ ~ t\
r4
phrases. 2
..ci
.il ..;0 42 Vigorous rhythmic figure (3a) emphasizes the
~ 1
wq U 1~q q
U cadence chords of the dominant key.
53 (3) Over the continuation of this rhythmic figure in the timpani, strings and flute gaily embroider the harmonic structure
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U
with the long melodic line in triplet figuration.
chords are repeated.
Cadence
n
Violins
'';';' ...
-
Eo<
Z
.-< 65 (2) The function of this brief section is to modulate to a
distant key by means of the repetition of (2).

71 (3) Rhythm of (3a) is emphasized by sharp changes in

3
Ii
Tirn.pani
P - - ..

r4 :
;:?l ~s:: '" dynamics with graceful interjections of (2).
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0
~ "
...
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r4 CI.l 81 (1) ~p.oint on the dominant note of the scale in timpani is overshadowed by fragments of (1) dialogued between
>
r4 CO> different instruments. Two strong chords are sounded by full orchestra suggesting the points of highest intensity for
(:l
the Transition Section; followed by descending scale line in the violins, using the rhythm of (3a). The return to the
(

Main Theme is graceful.

101 (1) The same number of measures are employed to restate the Main Theme as were used in the Exposition; the uasi-
~ fugal style is also continued. Thus, in design and in style there is unity through repetition. Variety is introducedby
s:: changes in the orchestration, and by a contral1untal associate in 16th notes; presented by cellos concurrently with the
announcement onl} by 2nd violins. - ~ - ----
~
Z
....
0
Eo<
127 (2) As in the Exposition, this theme enters without ostentatious preparation. It is now stated in the tonic key. No impor-
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• tant alterations of the orchestration; nor is the melodic or harmonic structure of the two long phrases modified in
;:J 8
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..c this repetition. The material is a copy of 27-41 except for change of key as required by the Sonata Allegro design.
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p:;
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o
fll .g 142 Continuation of the same material as in 42-52 except for change to tonic key.
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~ 153 (3) Copy of 53-64 without important modifications. Ends in tonic key.
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163 (1) Improvision on the lyric mood of the Main Theme, with ~ys introduced to strengthen th~~~.

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182 (3) Rhythm of (3a) is given to middle strings; winds sing fragments of (1); violins comment in two descending scale Iiness
ending on the tonic each time. Cadence chords are emphasized by horns and full orchestra.
'" 195

INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.

 12

SYMPHONY NO. 1 in C MAJOR, Op. 21

Composed in 1800
Ludwig van Beethoven
Third Movement: Menuetto-C major; Allegro molto e vivace
Song and Trio Design

..•-;:; 1 (1) Though designated in the title as Menuetto, the mood of the theme is more closely related to the style of the Scherzo.
s: It is a long 8-measure phrase.

• i' ;. »..: iJ. .;.. it h~'tit ~

9 (2) Only mildly contrasting is this Part II. It is
1
"
slightly more legato in spirit; it is rather ex-
tended, and touches distantly related keys for p cresco .I
strength of harmony. It reaches a point of
=:
~ .•..•..
high intensity, more emphatic than the high
cd
point in Part 1.
~ ~ Por--+ _
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~------ ~---;. ~ ~ ~ b~-;'
"" .~ 34 Violins reiterate the 3/4 rhythm while the winds and lower strings 2
~ §o motivate a return to (1). ~ p J
~ ~~~--~-------------------------------
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Po ~ -;:;
45 (1) With gusto and determination the full orchestra states the Main Theme giving to the entire Principal Song a properly
Q) cd balanced conclusion and a convincing presentation of the basic idea presented lightly and buoyantly in measures 1-8.
Q) Po •
•.•
~ f--+-c5;;-;9+---=F=-r-a-g-m-e-n-Ct:-s-o-f:-;;(2"")-a-p-p-e-a-r--=b-r--:i-e'::fl-y--'t'-o
emphasize the tonic 3
fl r>: .;.~~-jL ~ r=,
cadence. of this key (C major) '. .J
~o 66 (3) This is a return to the gay dance-like mood of (1) before the final fortissimo cadence chords.
U

80 (4) The pace continues, but the mood is more sustained,

as the winds reiterate the C major harmony. The I I I I »>:

...
f'l

-
playful strings scamper in and out of the chord tones :

a•..
.•..•..
cd
Po
with a decorative line new to the composition. The
parallel phrases are extended with a short codetta.
4
61
p r -r -r r -
e Part I ends in the near key of G major.
r-+--+-----------------------------
g -;:; m.
... s:
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104 (4) Portions of the two ideas in (4) are

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used to provide the variety necessary before there can be a return to Part

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Q) cd

~ ~-+--+-----------------------------------
S 122 (4) As in 45 and following above, the final statement of theme (4) is the climactic one for the Trio. The crescendo to
.•..
•..cd full orchestra is quickly achieved; there is only one statement of the theme; cadence chords are repeated for further
P. emphasis. The Trio ends with a clear cadence.

13f The score directs that the Menuetto - Principal Song be repeated after the Trio. Thus, the balance of the A - B - A'
.desrgnis established. Complete unity exists between A and A' under these circumstances.

cd
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2S cd
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Po Q)

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216

INSTRUMENTATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.

 13

SYMPHONY NO.1 in C MAJOR, Op. 21

Composed in 1800
Ludwig van Beethoven
Fourth Movement: C major; Adagio-Allegro molto e vivace
Sonata Allegro Design

- •...
...•
1 (1) Fortissimo
7 (2) Parallel
introductory
phrases,
note; violins follow softly with bits of scale.
four measures each; strings.
Tutti
.
Violins

~ C.
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15 (3) comPlementar; idea stated in parallel phrases, four measures each; strings; repeated ~~
intact with added instruments leading to fortissimo statement of consequent phrase. Ends on key note#'
1;;
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'" 30 (4) Oboes, horns, trumpets answered by strings announce new theme 2 ~
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which is repeated and extended by repetition of string figure to ~
E=:
•... 'a
r.l achieve a smooth and gay modulation to the key of the dominant P
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0 for the Subordinate Theme. This section is sonorous throughout.

3~Mmlm
..c:i 56 (5) Four measure phrase, gay in mood, is stated in violins, re-
~
r.lEo< peated and considerably extended to give the effect of a theme
.g of long arc with a climactic moment at the conclusion. It lies
rn

0
..;
entirely in the key of the dominant.
78 (6) Brief, one measure figure; syncopated rhythm; full orchestra.
.. ur ... . ..
U "" 85 scale passage from (2) rises in violins, as other instruments sustain.
Violins
96 (2) Continuation of previous theme to achieve modulation.
~~ .. ,
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Z
""
108' -- New key is emphasized by sustained tonic and dominant chords.
Violins sou~ descending chord tones to vitalize the harmony.
4~WtIF
"'c.::;:- Ol
c:
Oboes, horns, trumpets

0
...:l so
116 (2) Scale passage is treated in several ways, first in cellos,
then tossed about by all the strings in ascending and de- n \
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'" scending directions; rhythm of (6).
> 5
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140 Sustained harmony in winds; cellos and basses (3). '. r "t C I.
.••• 148
Dominant pedalpoint; upper and lower strings dialog the scale passage from (2); climax of Development is in this sec-
tion as well as the transition to Recapitulation .

•..• 163 (2) Replica of 7-14.

~ 171 (3) First two phrases identical with 15-22; the repetition of the theme is altered to effect 6
~
i is:
E=:
~~~-4--~------------~----------------
Ia modulation away from and a return to the tonic key, but without the neeessity of an
Episode; it is accomplished within the spirit and length of Part II.

•.•• ..c:i . - .lJ! J~Contrary to tradition, this theme is presented in the key of the subdominant instead of the tonic for the first 8 me as-
~ Eo< ures; after that it appears in the tonic. The orchestration is similar to that in the Exposition.
~ .g
..: rn
U
r.l~~--~~----------------------------------
tl::
o •..• 218 (6) Similar to 78-84 except for change of key.

u "" 226 Tutti orchestra; sustained harmony; ascending scales in strings; cadence on the dominant.

•..• 238 (2) Frae:ments of scales ascendine: throue:h several instruments'

243 (2) Part I of Main Theme is presented in its entirety.

C'\I 251 (3) Part II of Main Theme is repeated in its entirety. No attempt is made to intensify or amplify these statements.
~
§ ~~-+---+--------------------------------------------------------
U ~ 266 (7) Emphasis on tonic and dominant chords is by two balanced phrases of four measures
rn M each; they are repeated and extended with addition of scale figures derived from (2).

INSTRUMENT ATION: 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, 2 horns, 2 trumpets, timpani, strings.