EXAMPLE FOR ANALYSIS, No. 20.

Beethoven: The Fifth Symphony.[41] First movement.

(a)

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(b)

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(c)

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(d) From the Scherzo.

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FIGURE LII.

In Figure LII will be found quotations from the three themes of the first movement of the Fifth Symphony, and from the secondary theme of the scherzo.

It will be observed that the first motive in theme I—consisting of three short notes followed by a long one—is the germ from which both the conclusion theme and scherzo theme spring, and that the same motive serves as the bass to the second theme. This motive, in fact, dominates the entire first movement, the extraordinary vitality of which is largely due to the incisive quality of the motive itself and to the occasional thunderous proclamations of it by the entire orchestra. Here we have the virility of Beethoven's style admirably illustrated; no time is given to platitudes, no single measure wanders away from the chief issues. At times this first motive is extended into a succession of loud chords from the full orchestra; again the prevailing two-measure rhythm is interrupted by a measure of silence that shifts the accents dramatically from one place to another, dislocating the whole passage.[42] This intensity of utterance—each phrase hammered home—gives to the whole work a quite unique place among symphonies.

The complete movement may be tabulated as follows:

TABULAR VIEW OF STRUCTURE OF FIRST MOVEMENT OF
BEETHOVEN'S FIFTH SYMPHONY.


Sections.	Themes.	Measures.
Introduction.	On motive from theme I	1-5
Exposition (A)	First theme, C-minor	6-56
	Transition consisting of a chord of modulation	58
Duality of	Introduction to theme II based on original motive	59-62
Harmony	Second theme in E-flat major	63-95
	Codetta or Conclusion-section consisting of Conclusion-theme.	95-119
	Reminiscence of theme I	110-124
Development (B)	Motive from theme I treated	125-179
	Introduction to theme II lengthened and treated in sequence (G-minor and C-minor)	179-195
Plurality of Harmony	Half note phrase pass the same extended into long passage finally losing its contour and retaining only its rhythm	195-240
Recapitulation (A)	Further treatment of theme I	240-252
	First theme, C-minor	253-300
	Transition leading to C-major	302
Unity of	Introduction to theme II	303-306
Harmony	Second theme in C-major	307-346
	Conclusion—theme C-major	346-374
Coda	Theme I treated	374-397
	Introduction to theme II with new counterpoint	398-406
	Motive from the same in diminution (basses)	406-415
	Motive from theme II treated	416-469
	Motive from theme I treated	469-502

The foregoing table should be compared with those in Chapters VIII and IX in order to get a comprehensive view of the gradual development of sonata-form. It will be seen that Beethoven destroys nothing, but that the changes he makes in the older models are changes such as the nature of his themes and the length of the movement demand. The chief difference in themes is that the first theme is less lyric than those of Mozart, and more suited to development; a better contrast between themes I and II is thereby provided. The coda is extended far beyond that of the old model, and becomes an important part of the structure—important, because at this stage of the development of sonata form (audiences having become accustomed to listening to long pieces of pure music) the repetition of the whole first section (A) is a little too obvious, and the introduction of a dramatic coda after the recapitulation section provides fresh interest at the point where it is most needed.

Sir Hubert Parry [43] writes of Beethoven's innovations in this phase of musical development as follows: "It was his good fortune that the sonata-form had been so perfectly organized and that the musical public had been made so perfectly familiar with it, that they were ready to follow every suggestion and indication of the principle of form; and even to grasp what he aimed at when he purposely presumed on their familiarity with it to build fresh subtleties and new devices upon the well known lines; and even to emphasize the points by making progressions in directions which seemed to ignore them."

But most important of all is the close reasoning (if we may use the term) displayed throughout this movement. There is hardly a single note in it that has not some direct bearing on the subject matter, the two chords in the transitions being the only portions not derived from the themes proper. With all these elements of strength, and the added cohesion resulting from the similarity of themes, this movement stands as a model of what a symphonic first movement should be.