Beethoven's Symphony No 5 G Minor

Introduction

Ludwig van Beethoven exact birth date is unknown, but is believed to be December 16, 1770. People believe this, because he was baptized on December 17, 1770 and it is customary in Catholic countries to be baptizing the following day of birth. He was a German composer and pianist. He was a figure in the transition between the Classical and Romantic eras in Western art music. Beethoven remains one of the most famous and influential composers of all time. His death was March 26, 1827 in Vienna. His family originated from Brabant, in Belgium. His father was musician at the Court of Bonn. He father was known to have a problem with alcohol. His mother was always known as a very warm and gentle hearted woman. Beethoven considered his mother his best friend. Beethoven was the eldest of seven children, but only the three boys survived (Davies, pp 23).

Discussion

Melody

In Beethoven's Symphony No 5, as the orchestra builds to a climax at from bar 159, there is also imitation between the strings and the winds. At bar 179, the horn call is imitated in the strings and then fragments of it is played throughout the orchestra at bar 195, first played by the winds and brass and imitated by the strings. Bar 241 is the restatement of the first theme with a victorious character. The development and restating of themes in the exposition is a classical feature and is highly evident in this symphony. The recapitulation sees the reiteration of the opening however with the full orchestra and a return to C minor. The oboe cadenza in bar 268 appears out of nowhere after the sustained note held by the oboe. In the opening, the strings have the sustained note. In bar 269, the strings begin a building sequence. Bar 303 is the return of the 'horn call' in C major and the second subject is played by 1st violins and imitated by the flutes. The return of the syncopated rhythm in bar 356 is a repeat of bar 105, however in the tonic major. The coda is an incorporation of the 1st motif and then the 'horn call' reappears in the lower strings as well as the horn, with the violins playing running quavers as an embellishment (Davies, pp 11).

At bar 440, the rhythmic motif of the 2 slurred and 2 staccato quavers is seen to be inverted so it is 2 staccato and 2 slurred crotchets, a change in duration as well. The motif is imitated in the strings and the winds. There is then a fragmentation of the second subject theme at bar 459 in the string section before a return of the theme 1 motif returns in a 'suspended' form, leading into another reinstatement of the beginning of the symphony by the whole orchestra. The imitation introduced in bar 6 has then reappeared in bar 483, a tentative motif. The symphony is ended with a tutti 7 bar perfect cadence beginning at ...