CambridgeInternationalExaminations IGCSEMusic(Syllabus0410)Component1:PreparedListening TeachersGuidetoPrescribedWorks,2012 ThefollowingnotesmayhelpteacherstoensurethattheirpupilsapproachthestudyoftheirPrescribedWorksina waythatwillallowthemtoanswertheexaminationquestionsinaspreciseandfocusedamanneraspossible.Itmust bestressedthattheinformationgivenbelowisnotintendedtogiveafullycomprehensivestatementofcontent,but toindicatesomegeneralprinciplesthatshouldbefollowedinteachingthispartoftheSyllabus. ThePrescribedWorksfor2012are: EITHER Tchaikovsky,RomeoandJuliet(FantasyOverture) OR Beethoven,SymphonyNo.6inF,opus68[Pastoral](movements 3, 4 and 5) GeneralObservations ItismostimportantthatcandidatesshouldbeabletoheartheirPrescribedWorksasoftenaspossible,sothatthey becomethoroughlyfamiliarwiththemusicfirstandforemostthroughlistening.

tening.Recordingsshouldthereforealways beavailabletotheminschool.Wheneverpossible,however,itwouldbehighlydesirablethattheyshouldhavetheir owncopyofarecording,sothattheycanlistenathomeaswellasinschool.Withthisinmind,everyefforthasbeen madetoensurethatallthePrescribedWorksareavailableongoodquality,butinexpensiveCDrecordings(e.g.those issuedontheNaxoslabel).Theimportanceofexperiencingthesoundofthemusicatfirsthandcannotbestressed toomuch. Intheexamination,candidatesshouldexpecttobetestedonarangeofknowledgeandunderstandingoftheir chosenwork.Althoughtheprecisenatureofquestionswilldependupontheindividualcharacteristicsofthework concerned,candidatesshouldbepreparedtoanswerquestionsunderthefollowingmainheadings: Structureandterminology; Themesandtheirtransformations; Keycentresandmodulations; Identificationofchords; Instruments; Transposition; Scoremarkings,performancedirections,instrumentaleffects; Generalbackgroundinformationaboutthecomposerandaboutthegenreofeachwork. Thefollowingnotesoneachcomposerandworkincludesuggestionsforwaysofapproachingeachofthese headings.Essentialvocabulary,whichcandidateswillbeexpectedtoknow,understandanduse,ishighlightedbythe useofbolditalicprint,normallyatthefirstpointwherethewordsareused.

PyotrTchaikovsky(18401893) RomeoandJuliet(FantasyOverture) 1 Background Untilthenineteenthcentury,musicinRussiawasalmostentirelyItalianateinstyle.SeveralItaliancomposerslived andworkedinRussia,andmanyyoungRussiancomposersweresenttostudyinItaly.Amongtheirnumberwas MikhailGlinka(18041857),whostudiednotonlyinItalybutalsoinGermanyintheearly1830s.Glinkawasthefirst significantcomposertobreakwiththefashionforItalianatemusic.Histwofamousoperas,ALifefortheTsar(1836) andRusslanandLudmilla(1842),hadtextsintheRussianlanguageandmusicthatusedRussianfolkmelodiesasan integralpartoftheirmusicalstructure.Betweenthem,thesetwooperasestablishedanewanddistinctively nationalistvoiceinRussianmusic,thatwastobeemulatedbymanylatercomposers. InthegenerationfollowingGlinkathemostimportantRussiannationalistcomposerswerethemembersofagroup knownastheKutchka(theMightyHandfulormorebrieflyTheFive)Balakirev,Borodin,Cui,Mussorgskyand RimskyKorsakov.WiththeexceptionofBalakirevtheyhadnoformaltraininginmusicbutwerelargelyselftaught; itwasthereforeBalakirevwhobecametheirprincipalmentorandwhowasinmanywaystheleaderofthegroup. TchaikovskysbackgroundwassimilarinsomewaystothatofmostoftheFive.Beforehedecidedtomakehiscareer inmusichetrainedasalawyerandworkedforsometimeintheMinistryofJustice.Hismusicaltalentshadbeen evidentfromanearlyage,however,andin1863heresignedfromtheMinistryandenrolledasafulltimestudentat theStPetersburgConservatory,wherehestudiedcompositionwithAntonRubinstein.Threeyearslaterhemoved totakeupapositionasprofessorofharmonyatthenewlyestablishedMoscowConservatory.In1867hemet BalakirevforthefirsttimeandforafewyearsallowedhimselftobeguidedbyBalakirevssuggestionsandcriticisms. TheinitialideathatTchaikovskyshouldcomposeanorchestralworkbasedonShakespearesRomeoandJulietcame fromBalakirev,whosuggestedittohimin1869.AtfirstTchaikovskyseemedreluctanttobegin,soBalakirevwrote tohimwithanoutlineofhowthemusicmightbeplanned,withanIntroductiondescribingthecharacterofFriar Laurence,anAllegrodepictingthefeudbetweentheMontagueandCapuletfamiliesandathemeforthelove betweenRomeoandJuliet.Hedescribedthekindofmusicthateachsectionshouldcontain,evenincludingdetailsof themainkeyshethoughtappropriate.Tchaikovskythensettoworkandcompletedafirstversionofthepiecewithin afewmonths,thoughhedidnotallowBalakirevtoseeanyofthemusicuntilhehadfinished.Eventhenhedidnot sendacopyofthecompletescore,butonlysomequotationsofthemainthemes,addedasapostscripttoaletterin whichheacknowledgedthathehadfollowedBalakirevsoutlineinalmostallparticulars.Balakirevrepliedwithhis opinionofthethemes.HeapprovedoftheAllegroandespeciallyoftheLoveTheme,butthoughttheIntroduction wastoomuchlikeaHaydnstringquartet.Whatitneeded,hesaid,wasthecharacterofOrthodoxchurchmusic,ina choraletexturesimilartoonesincertainworksbyLiszt. ThefirstversionofRomeoandJulietwasperformedinMoscowon16March1870.AlthoughTchaikovskybelievedit tobethebestworkhehadyetwritten,heregardedsomepartsofitasinadequate.Duringthesummerthatyearhe rewroteit,substitutinganewIntroductionandrevisingmuchofthesubsequentmusic.Balakirevwaspleasedbythe newIntroductionbutstillhadreservations,particularlyaboutthelastsectionofthework.Nevertheless,Tchaikovsky thoughthehaddoneallthatwasnecessary;thesecondversionwaspublishedin1871andfirstperformedinSt Petersburgon17February1872. TchaikovskymadeonefurtherrevisiontoRomeoandJulietsomeyearslater,in1880.Thistime,againfollowing Balakirevscriticisms,herewrotethelastsectiontoprovideanimprovedclimaxtotheRecapitulationandamore satisfactoryCoda.Thisistheversionwhichisnowregardedasdefinitive.Itwaspublishedin1881butdidnotreceive itsfirstperformanceuntilitwasgiveninTbilisi,thecapitalcityofGeorgia,on1May1886.

 TchaikovskysRomeoandJulietisanexampleofprogrammemusicmusicthattellsastoryordescribesascene.The termwasfirstusedbyLiszt,butithassincebeenfoundextremelyusefulasawayofcategorisingmusicwrittenmuch earlier,includingsuchworksasVivaldisFourSeasonsorBeethovensPastoralSymphony.Itisnormallyexpected thatapieceofprogrammemusicwillhavesomekindofverbalannotation(aprogramme)attachedtoit,toexplain thestorythatitportraysortodefinewhatisbeingdescribed.InthecaseofRomeoandJuliet,however,thereareno verbalannotationsassuch.BecauseShakespearesplayissowellknown,Tchaikovskycouldassumethathis audiencewouldunderstandthemusicwithoutprovidinganyadditionalprogramme.AnyIGCSEcandidateswhodo notknowthebasicstoryoftheplaymaythereforeneedtobeintroducedtoitaspartofthecourse. DuringtheRomanticPeriodalltheartssharedapreoccupationwithsubjectsdrawnfromnature,historyorliterature (initsbroadestsense,includingmythology,legendandfairytale).FavouriteauthorsincludedByron,Schiller,Goethe orScott,butShakespeareoccupiedaspecialplaceintheRomanticimaginationandseveralnineteenthcentury composerswroteworksbasedonhisplays.Someofthesewereoperas,butmanywerepiecesoforchestral programmemusicinwhichacarefulselectionofcharacters,themesorincidentsfromtheplaycouldallowthe composerfreedomtocapturetheessenceofthedramawithouttheneedforwords.TchaikovskysRomeoandJuliet isjustsuchapiece.Itmakesnoattempttotellthestory,butinsteadpresentsaseriesofmusicalthemeswhich characteriseimportantelementsofthedrama,structuredasamovementinSonataForm. TchaikovskyreturnedtoShakespeareansubjectsonfourfurtheroccasions.TheTempest(1873)andHamlet(1888) werepurelyorchestralworks;theIncidentalMusicforHamlet(1891),writtenforaproductionoftheplayinSt Petersburg,usessolovoicesaswellasasmallorchestra;andaDuetforRomeoandJuliet,scoredforSopranoand Tenorvoiceswithorchestra,wasincompletewhenTchaikovskydiedin1893andwasfinishedbyTaneyev.Other worksinspiredbyliteraturethatwaspopularamongRomanticartistsincludetheoperasEugeneOnegin(1877/8, basedonPushkin)andTheMaidofOrleans(1878/9,basedonSchiller);theballetsTheSleepingBeauty(1888/9,based onfairytalesbyCharlesPerrault)andTheNutcracker(1891/2,basedonaversionbyAlexandreDumasofastorybyE. T.A.Hoffman);andtheorchestralworksFrancescadaRimini(1876,basedonDante)andManfred(1885,basedon Byron). TchaikovskyisnotgenerallyclassifiedasaNationalistcomposer,unlikeBalakirevandtheothermembersofThe Five.Thecosmopolitannatureofhismusic,whichplacedhimmoreinthemainstreamofnineteenthcentury EuropeanmusicthananyofTheFive,meantthathedidnotwholeheartedlyallyhimselftotheRussiannationalist movement.ThereisneverthelessadistinctlyRussiansidetohismusic,initscolourfulorchestration,itsreferencesto aparticularkindofmodalityandespeciallyinitsmomentsofdeepmelancholy.Allthesecharacteristicscanbe clearlyobservedinRomeoandJuliet. 2 Instruments TchaikovskysRomeoandJulietisscoredforalargeorchestra,typicalofthelate19thcentury,consistingofpiccolo,2 flutes,2oboes,CorAnglais,2clarinets,2bassoons,4horns,2trumpets,3trombones,tuba,timpani,percussion, harpandstrings. Transposinginstrumentsinthisworkarerathercomplicated,becausethereareseveralofthemandtheydonot alwaysusethetranspositionsthatarenowadaysregardedasnormal.Itmaybehelpfultoteachcandidatesthatthe expressioninFmeansthatthenoteFisproducedwhentheplayerfingersaC,orthatinAmeansthatthenoteAis producedwhentheplayerfingersaC;thisprincipleappliestoallsuchtranspositions.Theonlyotherfactorthat needstobetaughtiswhetherthenoteproducedishigherorlowerinpitchthantheCthatisfingered.Candidates maybecurioustoknowwhytranspositionsareusedatall(forreasonsconcerningthehistoryandacousticdesignof

theinstruments),buttheydonotneedthisknowledgeforthepurposesoftheexaminationandwillnotbetestedon it. ThefollowingarethetransposinginstrumentsinRomeoandJuliet: Piccolo:thispartiswrittenanoctavelowerthanitsounds(butcandidateswillnotbeexpectedtotransposeanyof thispart).Insomeperformancesplayerstransposesectionsofthispartanoctavehigheragain,sincetheinstrument producesitsmostpenetratingtoneonlyinitshighestregister. CorAnglais(showninthescorebyitsItaliannameofCornoinglese):thisinstrumenthasarathermisleadingname, whichtranslatesliterallyintoEnglishasEnglishHorn.Itisimportantthatcandidatesrealisethatitisnotahornatall, butthelowestinstrumentoftheOboefamily.ItspartsarealwayswritteninF,aperfect5thhigherthantheysound (socandidatesneedpracticeintransposingsmallfragmentsofthispartdownaperfect5th). 2Clarinets:thesearepitchedinAthroughoutthework,writtenaminor3rdhigherthantheysound(socandidates needpracticeintransposingsmallfragmentsofthispartdownaminor3rd). 4Horns:thesearepitchedinFthroughout,written(liketheCorAnglais)aperfect5thhigherthantheysound(so candidatesagainneedpracticeintransposingsmallfragmentsofthesepartsdownaperfect5th). 2Trumpets:thesearepitchedinEthroughout,writtenamajor3rdlowerthantheysound(socandidatesneed practiceintransposingsmallfragmentsofthesepartsupamajor3rd).Itisimportanttonotethatthesearetheonly transposinginstrumentsinthescorewherethetranspositiongoesup,notdown. DoubleBass:thispartiswrittenanoctavehigherthanitsounds(butcandidateswillnotbeexpectedtotransposeany ofthispart). Inadditiontothetransposinginstruments,therearesomepartswhichuseclefsotherthanthefamiliartrebleand bassclefs.TheTenorTrombonesarewritteninthetenorclef(wheremiddleCisonthesecondlinefromthetopof thestave)andtheViolasarewritteninthealtoclef(wheremiddleCisonthemiddleline).Candidatesshouldalso practisewritingsmallfragmentsofthesepartsineitherthebassclef(fortheTrombones)orthetrebleclef(forthe Violas). TheBassoonpartisoccasionallywritteninthetenorclef,whenitgoestoohightobewrittenonthenormalbassclef withoutanexcessivenumberoflegerlines.Forthesamereason,theCellopartissometimeswritteninthetenor clef,oreventhetrebleclef.ItshouldbenotedthatTchaikovskyusestheoldconventionthatwhenthecellopartisin thetrebleclefitisalsowrittenanoctavehigherthanitisintendedtosound.Thisconventiongraduallydiedoutlater inthenineteenthcentury;sincethencomposershavenotatedcellopartsattheirsoundingpitch,whicheverclefisin use. 3 DirectionsintheScore TchaikovskywrotehistempomarkingsandotherdirectionsinItalian.Therearerelativelyfewtempoindications, mostofwhichoccurinthefirstsectionofthescore,andtheyshowthatTchaikovskywascarefultomakehis intentionsasclearaspossible.Hewasnotalwayscontenttousesimple,singlewordindications,butoftenqualified them:theresultisthatsomeofthemneedexplanation. AndantenontantoquasiModerato(atthestart) Thisliterallymeansfairlyslow,butnottoomuch,asifatamoderatespeed.ItimpliesthatTchaikovskywas concernedthattheinitialtempomightbetakentooslowly. Pocoapocostring.accel.(bars7890) Thisisaninstructionthatthemusicshouldgetfaster:accel.isanabbreviationforaccelerando,whichsimplymeans increasingthespeed.Howeverstring.isanabbreviationforstringendo,whichmeansthatthereshouldalsobean increaseintension,leadingtotheAllegroatbar90.

Moltomenomosso(bar96) Literallyalotlessmovement,i.e.muchslower.Themusicatthispointisbasedontwoearlierpassages(bars1120 and5160),whichmayimplyareturntotheoriginaltempoatthispoint,oritmaymeanthatthetempohereshould beevenslower.Thisisoneexampleofaslightlyambiguousmarking. String.al.(bars106111) Anotherstringendo,increasingbothtensionandspeed,leadingto Allegrogiusto(bar112) Thishastwomeanings.ThewordgiustomeansthattheAllegroshouldnotbetoofast,butitalsoimpliesthatthe musicshouldbeplayedinstricttime.ItwasnormalinTchaikovskystimeformusictobeplayedwithacertain amountofrubato,especially(butnotexclusively)inslowsections.Inkeepingwiththedramaticcontentofthemusic atthispoint,Tchaikovskyclearlydoesnotintendthatrubatoshouldbeusedinthissection. Moderatoassai(bar485) Thisistheonlyothertempoindicationinthescore.Itmeansataverymoderatespeedandappliestotheshort Codaattheendofthework.Thereallysignificantpointisthatnochangesoftempoaremarkedanywhereinthe mainbodyofthemovement:everythingfromthebeginningoftheExpositionuntiltheCoda(includingthehighly expressiveLoveTheme)istobeplayedatthesameunderlyingtempo.Mostconductorsdo,however,allowthe tempotofluctuatequitesignificantly,butthismaynotbeexactlywhatTchaikovskyhadinmind! Candidatesalsoneedtounderstandthemainabbreviationsfoundinthescorewhichrelatetosomeofthe conventionsusedinnotatinganorchestralscore.Theseinclude: Theabbreviationa2inthewoodwindandbrassparts,meaningthatbothinstrumentswrittenonasinglestaveplay thesamenotes; Theabbreviation1.inthewoodwindandbrassparts,meaningthatonlythe1stplayershouldplaythephrasethat hasthismarking.ThesimilarnumbersintheHornpartsshowhowmanyofthefourhornsshouldplay,andwhich ones; TheabbreviationconSord.inthestringparts,whichmeansthattheinstrumentsshouldbeplayedwiththemute. ThisisinvariablyfollowedbytheabbreviationsenzaSord.atthepointwherethemuteshouldberemoved. Theabbreviationpizz.(shortforpizzicato)inthestringparts,meaningthatthestringsshouldbepluckedwiththe fingeruntilthismarkingiscancelledbythetermarco,meaningthattheplayersshouldresumeusingthebow; 4 Techniques Tchaikovskysmusicistonalbutoftenusesanextendedvocabularyofchords,typicalofthenineteenthcentury, whichinvolvessignificantuseofchromaticismandenharmonicchanges.IntheopeningsectionofRomeoandJuliet themainmelodyandmuchoftheharmonyaremodal,evokingthetraditionsofRussianOrthodoxchurchmusic. Thereareextendedpedalpointsinsomepassages,especiallyintheLoveTheme.Thedevelopmentofthemes frequentlyinvolvessequentialrepetitionsandthereismuchuseofsyncopationasameansofgenerating excitement.Contrapuntaltechniquesareemployedsparingly,butincludeimitationandinversion. 5 StructureandForm TchaikovskyfollowedBalakirevsinitialoutlineofRomeoandJulietveryclosely,preservingitthroughalltherevisions. HeevenadoptedBalakirevssuggestionsaboutthemainkeysoftheoverture,withtheFirstSubjectinBminorand theSecondSubjectinDFlatmajor(Balakirevhadaparticularfondnessforkeyswithtwosharpsorfiveflats).Inthis respectRomeoandJulietdoesnotfollowthenormalclassicalkeystructureofaSonataFormmovement,wherethe SecondSubjectwouldnormallybeineithertheDominant(foramovementinamajorkey)ortheRelativeMajor(for amovementinaminorkey).SuchadeparturefromtheusualexpectationsofSonataFormisoneofthefeaturesof RomeoandJulietthatmarksitoutasaRomanticreinterpretationofthestructure.Anotheristhewayinwhich

TchaikovskydoesnotrestrictthedevelopmentofthemestotheformalDevelopmentSection.Insomecaseshe beginstodevelopthethemesalmostassoonastheyhavebeenintroduced;infacttherearedevelopmentalpassages ineverysectionofRomeoandJuliet,includingtheExpositionandRecapitulation,andeventheIntroduction. InordertounderstandhowTchaikovskymodifiedtheform,candidatesneedtoknowthatthemainoutlinesof traditionalSonataFormareasfollows: EXPOSITION(whichintroducesthemainthemesinaparticularorder) FirstSubjectintheTonickey; Transition(alsocalledtheBridgePassage),whichmodulatestotheDominantkeyifthemainkeyofthesymphonyis major(ortotheRelativeMajorifthemainkeyisminor); SecondSubjectintheDominant(orRelativeMajor)key; Codetta(whichfinishesthissectioninthekeyoftheSecondSubject) TheExpositionismarkedtoberepeatedalthoughtherepeatisoftenmissedoutinmodernperformances. However,thischangestheproportionsofthestructureverysignificantly. DEVELOPMENT(duringwhichthemesmaybeextended,fragmentedorcombined,andthemusicmodulates frequentlyandextensively. ClassicalcomposersusedtheDevelopmenttoexplorethelatentpossibilitiesoftheirthemes) RECAPITULATION(returningtothemusicoftheExposition,butwithsignificantmodifications) FirstSubjectintheTonickey; Transitionadjustedsothatitdoesnotmodulateexceptinpassing; SecondSubjectintheTonickey. CODA(whichfinishesthewholemovementintheTonickey).TheCodaoftenusessimilarmusictotheCodetta,but itisnormallylonger. Inadditiontotheabove,someClassicalmovementsinSonataFormhaveaslowIntroductionatthebeginning,which maybe(butoftenisnot)relatedtooneormoreofthethemesusedinthemainbodyofthemovement. 6 Analysis INTRODUCTION(bars1111) ThisismeantasamusicaldescriptionofthecharacterofFriarLaurence.Therearefourmainideas: TheChoraletheme,playedinitiallybyclarinetsandbassoons(bb110),inamodalFsharpminor; Amotifinthebass(bb1115)withchromaticharmony;repeatedinthetreble(bb1518),modulatingtowardsD majorandlinkingto Afurthermotif(bb2127),withachangeofkeysignatureatthepointwherethebassCsharpfromb20is enharmonicallychangedtoDflat.Themotifconsistsofarisingsequentialpatternwithachainofsuspensionsinthe woodwind,withadescendingpatternof3rdsinthecellos,overapedalDflatthatfallstoCinb26(modulating towardsFminor); Ahighlycharacteristicsequenceofsustainedchords(bb2837),somewithrisingharparpeggios,andarisingmotif playedbytheflutesthatrepeatsthelastfewnotesofthepreviouspassage.

 Aftera3barlink(bb3840)derivedfromthedescending3rdsofthethirdmotif,theChoralethemereturnsatb41inF minor:avariedrepeat,morefullyscored,withanadditionalscalicaccompanimentplayedbypizzicatostrings.The secondmotiffollows(b51),thenthethird(b61),thistimeoverapedalCthatfallstoBinb66(modulatingtowardsE minor).Thefourthideareturns(b68),thistimewiththerisingmotifplayedbyviolinsinsteadofflutes. Thereisanotherchangeofkeysignature(b78),andamarkingofstringendoandaccelerando.Ashortpassageof developmentfollows,basedonthesecondmotif(overapedalEthatbeganinb76andisnowcontinuedinthe timpani).ThekeyisAminor.TheChoralethemereappearsinamodifiedform(b86),leadingtoaclimaxatb90. Overthenextsixbarsthemusicmodulates,arriving(b97)onachordofFsharpmajor(theDominantofBminor). ThepassagemarkedMoltomenomossoactsasalinktothestartofthemainbodyofthemovement.Itisbasedon thesecondmotif.Fromb105,wherethekeyofBminorisfinallyestablished,aseriesofrepeatedTonicchords, playedalternatelybywoodwindandstringsoveraDominantpedal,withanotherstringendo,leadsdirectlyintothe: EXPOSITION(bars112272)Mainkey:Bminor FirstSubject(bb1121611) ThisismeantasamusicaldescriptionofthefeudbetweentheMontaguesandCapulets,andofthestreetfighting betweenthetwofamilies. Themaintheme(A1)ispresentedinatuttiandischaracterisedbystrong,syncopatedrhythms.Asubsidiaryidea (A2)(b115)consistsofrisingsemiquaverscalesintheviolins,imitatedchromaticallyandininversionbythelower strings.Abriefthirdidea(A3)(b1183)leadstoarepeatofA1atb120. Asectionofdevelopmentfollows(b122),basedonamotif(A4)intheviolinsthatrisesthroughaminor3rdwitha syncopatedaccompaniment(thisisinfacttakenfromA1thelasttwonotesofb112andthefirstnoteofb113).A1 reappearsinaslightlymodifiedversion,playedinimitationbetweenlowerstringsandwoodwind,inDminor(b126) andGminor(b130),withmoresemiquaverrushingabout(Tchaikovskysowndescription)intheupperstrings.From b135motifA4dominates,alternatingbetweenwoodwindandstringswithfurtherinversions,graduallymodulating backtotheTonic.Fromb143apassageofsemiquaverscalesinthestringsbasedonA2ispunctuatedbyTonic chordsinthewindandbrass,oftenplayedonweakbeatsoronthesecondquaverofthebeat.A1reappears(b151), followedbyamodifiedversionofA2(b154)andA3(b157),leadingtoarepeatofA1(b159). Transition(bb161183) Moresemiquaverscalesleadtoamodulatingprogressioninb163whichleadsontotheDominantchordofDmajor (b1641).TherestoftheTransitionisbasedonA4,overapedalA.Thereisagradualdiminuendoandlongernote valuesintheaccompanyingchords,togetherwithagradualsmoothingoutofthesyncopation,createtheeffectofa rallentandoeventhoughnochangeoftempoismarked.Atb180themusiccomestorestontheDominant7thchord ofDmajor,sothatitappearsasiftheSecondSubjectisgoingtobeinthenormalkeyofD(theRelativeMajor). SecondSubject(bb1842431)Mainkey:Dflatmajor ThisisknownastheLoveTheme,andismeanttodescribethelovebetweenRomeoandJuliet. Themusicslipsintothishighlyunusualkeyinasimplebutmostingeniousway.TheA7chordisreinterpretedasan Augmented6th,allowingittoresolveontothe2ndinversionofDflatmajor,thusneatlysidesteppingtheexpected

resolution(careneedstobetakenoverthetranspositionofthehornpartstoseeexactlywhichnotesarebeing playedinthesechords). TheSecondSubjecthastwomainideas.Thefirstone(b184)isthefamousLoveThememelody(B1),playedbycor anglaisandmutedviolaswithagentlysyncopatedaccompanimentinthehornsandabasslineplayedbybassoon andpizzicatocellosandbasses.Thesecondone(B2)followsatb1924,andconsistsofaquietchordprogression playedbymutedstringsoveraDflatpedal.Thisdevelopswithchromaticharmonyandacrescendo,leadingtoa variedrepeatofB1atb213.Themelodyisnowinthewoodwind,withtheadditionofayearningappoggiatura, accompaniedbyquavermovementintheupperstringsandasighingmotifinthe1sthorn.Themusicrisestoa climax(b234),thenmakesarapiddiminuendoinreadinessforathirdrepeatofB1atb235. Codetta(bb243272) Theharpplaysachordalfigure,graduallydescendingthroughchromaticharmonies,withfragmentsofmelody playedbybassoonandcoranglais.TherearefurtherreferencestotheAugmented6thchord,markedoutby markingsofsforzandointhebass. DEVELOPMENT(bars273352) ThisismainlybasedonmaterialfromtheFirstSubject,combinedwithappearancesoftheChoraletheme.The principalmotifsinvolvedareA1(b273);A2(b278);Chorale(b280)incombinationwitharisingphrasebasedonthe rhythmofA1;A3(b285);Chorale(b293);A2(b300),withtheChorale(b302);A3(b309);Chorale(b315);A4 interspersedwithfragmentsofA1(b320)andjoinedbythedescendingversionofA2(b326).Themusicthenrisesto amassiveclimax(b335)wheretheChorale,playedbythetwotrumpetsinunison,isaccompaniedbysnatchesofA1 intherestoftheorchestra.Thiseventuallyleads(b345)toarepeatofbb143150,completewiththeDominantpedal, preparingforthe: RECAPITULATION(bars353484) AlthoughitbeginswiththeexpectedreturnofA1insomethingclosetoitsoriginalform,thisRecapitulationdoesnot followthestandardprocedureandincludesagreatdealoffurtherdevelopment.InitiallyA1,A2andA3reappearin theirexpectedorder(bb353362areequivalenttobb112121,despitesomesignificantdifferencesindetail).Inbb 363and364thephraseisextended,thenthreebarsbasedonA2leadquiteunexpectedlytoareturnofB2atb3674, nowoverapedalDnaturalAtthispointthesemiquaverscontinueintheviolins,givingthethemeamuchmore unsettledfeelthanitoriginallypossessed.Thiscontinues,withagradualcrescendo,untilb389,whereB1returns,inD major(intheversionwiththeappoggiatura);thecrescendocontinuesasB1undergoesanextendeddevelopment, reachingabigclimaxatb410.Evenwhentheclimaxsubsidesthedevelopmentcontinues,withB1presentedin imitation(bb419/420).Anotherlongcrescendoleadstoafurtherclimaxatb436.FragmentsofA1areintroduced fromb441,andA1initsentiretyreturnsonceagainatb446,inBminor,followedbymoredevelopmentofA2in combinationwiththeChorale(bb449/450).ThekeyshiftsupasemitonetoCminorforthenextappearanceofA1 (b454),followedasbeforebyA2andtheChorale.ThereisstillmoredevelopmentofFirstSubjectmaterialfromb 462,inyetanotherextendedclimax.Thisgraduallysubsidesfromb475andthesectionendswithaunisonphrasein thebassinstruments,finishingonanexpectantDominantnote,withapause(b484).Thefortissimoonthetimpani atb483isassumedbyseveralcommentatorstomarkthemomentoftheloversdeath. CODA(bars485522)MainkeyBmajor ThefirstpartoftheCoda(bb485493)isakindoffuneralmarch,withapedalBsustainedbythetuba,repeated pizzicatoBsinthedoublebasspartandanominousdrumbeatinthetimpani.Abovethisthestringsplaytwo fragmentaryreminiscencesoftheLoveTheme.ThewoodwindthenplayamournfulChorale(bb494509),which

includesaninversionoftheA3motiffromtheFirstSubject(notethecharacteristicallyRussianalternationofBmajor andGmajorchords).AfinalappearanceoftheLoveThemefollows(bb510518),soaringgentlyaboveachromatic bassline,withsyncopatedaccompanyingchordsintheupperwoodwind.TherepeatedBmajorchordsthatendthe workrecalltherepeatedBminorchordsfromtheendoftheIntroduction,orfrombb143147oftheExposition,but nowtheyconveysomethingentirelydifferentfromtheiroriginalmeaning.Inthememorablewordsofthe Tchaikovskyspecialist,DavidBrown,thesuccessionoffiercetonicchordsharshlyrecallsthatfatalfeudonwhich theseyoungliveshavebeenbroken;thewarringfamiliesnowstandtransfixed,therepeatedchordsnolonger suggesting,asattheendoftheIntroduction,animminentexplosionofferociousstrife,butastunnedhorroratwhat hasbeendone. LudwigvanBeethoven(17701827) SymphonyNo.6inFMajor,Op.68[Pastoral](movements3,4and5) 1 Background Beethovenwasoneofthemostsignificantcomposersofthelate18thandearly19thcenturies,hisreputationresting onnineSymphonies,fivePianoConcertos,oneViolinConcerto,thirtytwoPianoSonatas,seventeenString Quartets,twoMassesandseveralotherorchestral,chamberandvocalworks.Instyleandoutlookhismusicstandsat theveryendoftheClassicalPeriod,thoughmanycommentatorsusedtoclassifyitasrepresentingthefirst expressionofRomanticisminmusic. BeethovensSymphonieswerecomposedoverarelativelylongperiodoftime,from1799,whenhebeganSymphony No.1,to1823,whenhecompletedSymphonyNo.9.Heworkedslowlyandmethodically,andtheprogressofeach workcanbeobservedthroughthemanysketchbooksheusedtoworkouthisideasastheydeveloped.He transformedtheentirenatureoftheSymphony,expandingitsforms(especiallySonataForm),increasingitslength andgivingitagreatersignificancethanithadpreviouslyheld.Inthiscontext,thefactthathewrotefarfewer SymphoniesthaneitherHaydnorMozartisindicativeofadifferentapproach.Forcomposerswhowrote Symphonieslaterinthe19thcentury,Beethovensinfluencemeantthattheycametoseethisgenreasthevehiclefor expressingtheirmostimportantideas. WhilemostofBeethovensSymphoniesareexamplesofwhatisoftencalledabsolutemusic,someofthemreferto conceptsandideasthatcomefromsourcesoutsidetheworldofmusicitself.SymphonyNo.3,forexample,grewout ofBeethovenspoliticalidealismandwasoriginallytohavebeendedicatedtoNapoleonBonaparte(thededication wasfamouslyremovedinafitofangerwhenNapoleoncrownedhimselfEmperorin1804).BythetimeofSymphony No.9,Beethovensdesiretomakehisphilosophicalintentionsabsolutelyclearledhimtoincludeachoralfinale,a settingofSchillersOde to Joy(withitsreferencestothebrotherhoodofman).SymphonyNo.6isalsobasedon extramusicalideasconcerningthepowerandbeautyofNatureathemethatwastobecomeanespecially importantaspectofRomanticism,butwhichwasalreadywellknownin18thcenturyAustria.Beethovenwouldhave beenfamiliarwiththetwoOratoriosofhisformerteacher,Haydn(The Creation and The Seasons),andthese worksbelongtoapastoraltraditioninEuropeanartthatgoesbackseveralhundredyears.Hemayalsohaveknowna workforchorusandorchestraentitledHymne lagriculture(HymntoAgriculture)composedin1796bytheFrench composerJeanXavierLefvre(17631829).Theorchestralintroductiontothisworkbearsastrikingsimilaritytothe openingofthelastmovementofthePastoralSymphony.Beethovenlovedthecountrysideandspenthissummers invariousvillagesaroundVienna:hislettersarefullofreferencestohisdelightinlongwalksthroughthefieldsand woods.Heoftentookpaperandapencilwithhim,sothathecouldjotdownanymusicalideasthatoccurredtohim duringhiswalks. AlthoughtheearliestsketchesforthePastoral Symphonydatefrom1803,mostoftheworkontheSymphonywas donebetweenMarchandDecember1808.Bythistime,theprogressivedeafnesswhichhadbeentroubling

Beethovensinceatleast1801hadbecomeapermanenthandicap,preventinghimfromearningasatisfactoryliving asaperformer.Hecametodependonpaymentsfromwealthypatrons(towhommanyofhisworkswere dedicated),onreceiptsfrompublicperformancesofhisworks(thoughthesewereveryunreliable)andonselling themtopublishers.ThePastoral Symphonywasdedicatedtotwoofhismostimportantsupporters,PrinceJoseph LobkowitzandCountAndreyRazumovsky.ItwasfirstperformedataconcertheldintheTheater an der Wienin Viennaon22December1808(theprogrammealsoincludedfirstperformancesoftheFifthSymphonyandtheChoral Fantasia,Op.80).TheorchestralpartswerepublishedbytheLeipzigfirmofBreitkopfundHrtelinMay1809;the scorewasnotissueduntil1825. ThePastoral Symphonyisanexampleofprogrammemusicmusicthattellsastoryordescribesascene.Theterm wasfirstusedbyLiszt,butithassincebeenfoundextremelyusefulasawayofcategorisingmusicwrittenmuch earlier,includingsuchworksasVivaldisFour Seasons.Itisnormallyexpectedthatapieceofprogrammemusicwill havesomekindofverbalannotationattachedtoit,toexplainthestorythatitportraysortodefinewhatisbeing described.InthecaseofthePastoral Symphony,theverbalannotationstooktheformofdescriptivetitlesforeach movement,whichBeethovenintendedtobeprintednotonlyinthescorebutalsointheprogrammeofa performance,sothattheycouldbeunderstoodbyperformersandlistenersalike.Hewasanxious,however,thatthe descriptiveelementsintheworkwerenottobeoveremphasised:hisoriginalsubtitlewasMehr Ausdruck der Empfindung als Malerei(Moretheexpressionoffeelingthanpainting).Thisimpliesthatthepurelymusical, symphonicaspectsofthePastoral Symphonyareatleastassignificantasthedescriptive,ifnotmoreso.Thisisnot musicalstorytelling,butasymphonywhoseemotionalworldisdefinedasaresponsetothefeelingssuggestedby thetitlesofitsmovements.Nevertheless,severalcommentatorshavesuggestedthatitportraysasingledayinthe country,frommorningtoevening:seeninthisway,theconnectionwithotherpastoralworksisonlystrengthened onecharacteristicmanyofthemshareistheirsenseoftime,whetheritbetheprogressionoftheseasons(Vivaldis Four Seasons orHaydnsThe Seasons),orofaweek(HaydnsThe Creation). BeethovenstitlesforthefivemovementsofthePastoral Symphonyevolvedquiteslowly.Hemayhavebased themonsimilartitlesusedinafivemovementsymphonyentitledLe portrait musical de la nature(MusicalPortrait ofNature),composedin1784byanowobscurecomposercalledJustinHeinrichKnecht(17521817).After experimentingwithvariousdifferentversions,Beethovenfinallychosethefollowing: I II Erwachen heitere Empfindungen bei der Ankunft auf dem Lande[Awakeningofhappyfeelingson arrivalinthecountryside] Szene am Bach[Scenebythebrook]

III Lustiges Zusammensein der Landleute[Merrygatheringofcountrypeoplesometimesknownas Thepeasantsmerrymaking] IV Gewitter, Sturm[(Thunder)Storm] V Hirtengesang. Frohe, dankbare Gefhle nach dem Sturm[ShepherdsSong.Joyful,grateful feelingsafterthestorm] BeethovenstitleforthefirstmovementwasalteredwhentheworkwasreprintedaspartoftheCompleteEdition publishedbyBreitkopfundHrtelin1862.Mostlatereditions,includingtheEulenburgandPhilharmoniaminiature scores,havefollowedthisincorrectversion. The3rd,4thand5thmovementsarewritteninsuchawaythattheyleadintoeachotherwithnobreaksbetweenthe movements. 2 Instruments ThePastoral Symphonyisscoredforatypicalclassicalorchestra,withtwoeachofFlutes,Oboes,Clarinetsand Bassoons(i.e.doublewind),twoHorns,twoTrumpets,twoTrombones,TimpaniandStrings.TheTrumpetsareused onlyinthe3rd,4thand5thmovements,theTrombonesonlyinthe4thand5thandtheTimpanionlyinthe4th.In

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additiontothetwoFlutes,aPiccoloisusedbrieflyinthe4thmovementtosuggestthewhistlingofthewind. Thetransposinginstrumentsusedinthe3rd,4thand5thmovementsareasfollows: 2ClarinetsinBflat:thesepartsarewrittenatonehigherthantheysound(socandidatesneedpracticein transposingshortfragmentsofthispartdown a tone); 2HornsinF:thesepartsarewrittenaperfect5thhigherthantheysound(socandidatesneedpracticein transposingshortfragmentsofthesepartsdown a perfect 5th); 2Trumpets:inthe3rdand5thmovementsthesepartsareinC,involvingnotransposition.However,inthe4th movementtheyareinEflatandthepartsarewrittenaminor3rdlowerthantheysound(socandidatesneed practiceintransposingshortfragmentsofthesepartsup a minor 3rd). DoubleBass:thispartiswrittenanoctavehigherthanitsounds(butcandidateswillnotbeexpectedtotranspose anyofthispart). Piccolo:thispartiswrittenanoctavelowerthanitsounds(butcandidateswillnotbeexpectedtotransposeany ofthispart).

Mostoftheinstrumentalpartsarewritteninthefamiliartreble(G)andbass(F)clefs.TheexceptionsaretheViolas andtheTrombones,whichusetheAlto clef(withMiddleConthemiddleline).Candidatesshouldalsolearnhowto readthesepartsandshouldpractisetranscribingshortfragmentsofthemintothestandardtrebleclef(transcription intothebassclefwillnotberequired). Itshouldbenotedthatseveraleditionsofthescore(e.g.Eulenburg)showtheclarinettranspositionasClarinetti in B,usingtheGermannameforBflat,andthetrumpettranspositioninthe4thmovementasTrombe in Es,using theGermannameforEflat.Careneedstobetakentoensurethatcandidatesunderstandthissothattheyarenot confused.MostscoreswilllisttheinstrumentsusingtheirItaliannames,socandidatesneedtobetaughttoavoid obviousconfusions(e.g.corniarehorns,notcornets;trombearetrumpets,nottrombones).Theabbreviationsfor theseinstruments,whichareshownafterthefirstpageofeachmovement,arealsoeasytoconfuse:thehornsare normallyabbreviatedtocor,thetrumpetstotrandthetrombonestotrb. 3 DirectionsintheScore Candidatesneedtounderstandthemainabbreviationsfoundinthescorewhichrelatetosomeoftheconventions usedinnotatinganorchestralscore.Theseinclude: Theabbreviationszu2ora2inthewoodwindparts,meaningthatbothinstrumentswrittenonasinglestave playthesamenotes; Theabbreviation1.inthewoodwindparts,meaningthatonlythe1stplayershouldplaythephrasethathasthis marking(sometimesthisprincipleappliestoplayersotherthanthe1st,asatb95ofthethirdmovement,where onlythe2ndBassoonplays); Theabbreviationpizz.(shortforpizzicato)inthestringparts,meaningthatthestringsshouldbepluckedwith thefingeruntilthismarkingiscancelledbythetermarco,meaningthattheplayersshouldresumeusingthe bow.

4 Techniques Beethovensmusicispredominantlydiatonicincharacter,thoughhemakesfrequentuseofchromaticnotesinhis melodies,oftenusingthemaspassingnotes.Inthethirdmovementthereareseveralpedalpoints,recallingthe characteristicdroneplayedbymanyfolkinstruments.Thereareseveralostinatopatterns(quiteunusualin Beethovensmusic),whichalsorecallatypicalimageofthetraditionalmusicofthecountryside.Thethematic materialreliesheavilyonshort,fragmentarymelodieswhichinvolveagreatdealofrepetition;theunderlying harmonyissimplerthaninanyotherSymphonybyBeethoven,withfewminorchordsandhardlyanychromatic

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harmonies,exceptinthe4thmovement,wherechromaticharmony(especiallythediminished7thchord)isused extensively.Theharmonicrhythm(i.e.thepaceofharmonicchange)tendstobeslow,withsinglechordslasting oftenforseveralbars.Contrastismadewhentheharmonicrhythmchanges,andbytheuseoflengthycrescendos anddiminuendos.Abovetheslowmovingharmony,themelodiesareoftenlivelyandagile,withfrequentquaver andsemiquavermovement.Theintervalofa3rd(oftenmajor,butsometimesminor)isanimportantfeatureof boththemelodicwritingandtheharmonicorganisation(atypicallyBeethoveniancharacteristic),buttheTonic, DominantandSubDominantchordsandkeysareusedextensively,underliningBeethovensemphasisonsomeof themostessentialcomponentsoftonalmusic.SeveralpassagesintheSymphonysuggestthatBeethovenmayhave beentryingtoencapsulatesomeofthefeaturesoffolkmusicinthismusic,butwithoutadoptinganyofitsactual formsorinstruments. 5 StructureandForm The3rdmovementisbasedonthestructureofaScherzoandTrio,butwithanumberofdeparturesfromthenormal expectationsofthisform.CandidatesneedtoknowthatBeethovensScherzomovementsdevelopedoutofthe MinuetandTriomovementsthathadbecomeestablishedasaconventioninsymphoniesbyHaydnandMozart.The Minuetwasoriginallyadancemovement;inasymphonyitwasnormallythethirdmovementanditwasalwaysin3/4 time.ItstempoindicationwasnormallyTempo di menuetto,implyingthatitshouldbeplayedatamoderate speedwithaclearfeelingofthreebeatstothebar.InBeethovensFirstSymphonythereisamovemententitled Menuetto,withacentralTriosection,butitismarkedtobeplayedatamuchfastertempothananyofthe correspondingmovementsbyHaydnorMozart,withafeelingofonebeattothebar.InBeethovensSecond SymphonythetitleMenuettowasabandonedinfavourofScherzo(theItalianwordliterallymeansajoke,oratrick); thesametitlewasusedintheThirdSymphony.InhislatersymphoniesBeethovendidnotgivetheequivalent movementatitle,butsimplyatempoindicationusuallyAllegro, Allegro vivaceorevenPresto,thoughinthe EighthSymphonyherevertedtothemoreconventionalTempo di Menuetto. ClassicalMinuetmovementswerenormallyinTernaryForm(oftendescribedbrieflyasABA).ThePrincipalSection (theMinuet)followedtheusualstructureofadanceinBinaryForm,witharepeatofbothitsmainparts.Thecentral SubsidiarySection(theTrio)wasalsoinBinaryForm,withrepeatsofbothitsmainparts;originallythissectionwould havebeenplayedbyjustthreeinstrumentshencethenamebutthispracticehadbeenabandonedlongbefore suchmovementsbegantoappearinClassicalsymphonies.AttheendoftheTriocomposerswouldwritethewords Menuetto da capoortheequivalent,andthePrincipalSectionwouldbeplayedagain,butpossiblywithoutthe repeats.Itisimportantthatcandidatesdistinguishbetweenthestructureofeachofthethreesections(whichis Binary),andthestructureoftheentiremovement(whichisTernary).Thisisaverysignificantdistinction,whichcan oftenbeasourceofconfusion. InthePastoral Symphonythethirdmovementhasadescriptivetitle(seeabove),butisnotidentifiedasaScherzo: itissimplymarkedAllegro.ItfollowstheconventionalTernaryFormstructureuptoapoint,buttherearenointernal repeatsineithertheScherzoorTriosections.Thereturntothebeginningoccursinitsexpectedplace,buttherepeat appliestoboththeScherzoandtheTriosections.TheTrioismostunusual,becauseitiswrittenindupletime(2/4 insteadofthenormal3/4).ThisideacamefromsomeoftheAustriandancemusicofthetime,sothisisanothergood exampleofthewaysinwhichBeethovenincludedfeaturesoffolkmusicinthissymphony.Aftertherepeatofthe ScherzoandTriothemovementcontinueswithaCoda,whichseemsatfirsttobeathirdappearanceoftheScherzo section;this,however,turnsouttobethelinkbetweenthe3rdand4thmovementsthatisneededbecausethe movementsfollowwithoutabreak. The4thmovementisinafreestructurewhichdoesnotcorrespondtoanyoftheClassicalformsthatwouldnormally befoundinasymphony.Thatdoesnotimplythatthemovementhasnostructureatall,butsimplythatthestructure islessconventionalthananyoftheothermovements.Thismovementisanadditiontotheconventionalfour movementstructureoftheClassicalsymphony,anditcontainsthemostovertlyprogrammaticmusicinthewhole work.

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Theformofthe5thmovementisnotaltogetherstraightforward.SomeanalysesdescribeitintermsofaRondo,but thisisnotwhollysatisfactory.OthersdescribeitasaSonataRondo(atermthatoriginatedinthe19thcenturyasan attempttoaccountformovementsthatcontainedelementsofbothRondoandSonataForm),butthisisequally problematic.InmanywaysthismovementfollowsthemainoutlinesofSonataFormfairlyclosely,butwitha numberoffeaturesthatareunconventional.Theprinciplesofthisformwerenotfirmlyestablisheduntilc.1830,but itisausefulbasisforunderstandingthestructureofseveralmovementsinBeethovenssymphonies,includingthe firstandsecondmovementsofthePastoral Symphony,bothofwhichfollowthepatternveryclosely.The5th movementislessclearinsomerespects,buttheessentialprinciplesoftheformareallpresent. CandidatesneedtoknowthatthemainoutlinesofSonataFormareasfollows: EXPOSITION(whichintroducesthemainthemesinaparticularorder) FirstSubjectintheTonickey; Transition(alsocalledtheBridge Passage),whichmodulatestotheDominantkeyifthemainkeyofthe symphonyismajor(ortotheRelativeMajorifthemainkeyisminor); SecondSubjectintheDominant(orRelativeMajor)key; Codetta(whichfinishesthissectioninthekeyoftheSecondSubject) TheExpositionismarkedtoberepeatedalthoughtherepeatisoftenmissedoutinmodernperformances. However,thischangestheproportionsofthestructureverysignificantly. DEVELOPMENT(duringwhichthemesmaybeextended,fragmentedorcombined,andthemusicmodulates frequentlyandextensively.ClassicalcomposersusedtheDevelopmenttoexplorethelatentpossibilitiesoftheir themes) RECAPITULATION(returningtothemusicoftheExposition,butwithsignificantmodifications) FirstSubjectintheTonickey; Transitionadjustedsothatitdoesnotmodulateexceptinpassing; SecondSubjectintheTonickey. CODA (whichfinishesthewholemovementintheTonickey).TheCodaoftenusessimilarmusictotheCodetta,butitis normallylonger.

Inthe5thmovementofthePastoralSymphony,theTransition,SecondSubjectandCodettaaretreatedalmostasa singleunit;theSecondSubject,inparticular,ismuchlesswelldefinedthaninmostSonataFormmovements.The DevelopmentbeginswithasubstantialrestatementoftheFirstSubjectintheTonic(thisisthemainreasonforthe movementsometimesbeingdescribedasaRondo),butthereafterislargelybasedonnewmaterial.The Recapitulationisexactlyasexpected.TheCodaisextremelylongalmostaslongastheExpositionand Developmentcombined,andtakingupmorethanathirdofthetotaldurationofthemovement. Beethovensapproachtotheprincipleofdevelopmentinthismovement(asinthefirstandsecondmovementsas well)issignificantlydifferentfromhisotherSymphonies.Thereismuchlessemphasisoncombinationand fragmentationofthemes,andmuchmoreuseofrepetition.Thisisoneofthemosttellingwaysinwhichthecontent ofthePastoral Symphonywasdeterminedbytheemotionaleffectofitsdescriptiveelements,creatingafeelingof peacefulcontentment,interruptedbytheturbulenceandaggressionofthestorm,butfinallyreturningtoamoodof joyfulcalmwhichisquiteunlikemanyofBeethovensotherworks.

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Analysis Thirdmovement:Allegro Tonickey:Fmajor

Merrygatheringofcountrypeople(Thepeasantsmerrymaking) SCHERZO(bb1164) Althoughthissectioniscontinuousanddoesnothavetherepeatmarkingsthatwouldbefoundinaconventional movementofthistype,theoutlineofaBinarystructureisclear.Thetempomarking,Allegro,isdefinedwitha metronomemarkofdottedminim=108.Themusicmainlyfallsintoregularphrasesoffourbars;twophrases, however,areextendedtosixbars. Firstpart(bb184) [NBallphrasesbeginwithananacrusis,butthebarnumberinginthisanalysis ignorestheupbeatsforthesakeofsimplicity] Fourmainthematicideasarepresentedinthispartofthemovement: (i) Openingstatement(ThemeS1),playedbythestrings,staccatoandinunison,intheTonickey(18).The themeendsonanA,whichisusedasaPivotNotetoleadinto: (ii) Secondidea(ThemeS2),playedbystringsandwoodwind,legato,inDmajor,withatonicpedalpointonD (916).(Notethatthechangeofkeyhasnomodulationassuch,andthatthecontrastof FmajorandDmajor,whicharea3rdapart,ishighlycharacteristicofBeethovensharmonicproceduresinthis symphony). Thefirst16barsarethenrepeated,exactlyasbefore(1732).S1thenreappears,startinginDmajor(33),and goingthroughGmajor(37)inpreparationforthereturnofS2intheDominantkeyof Cmajor(41),overatonicpedalpointonC.ThismergesintoS1(47)withamodulationbacktoFandacrescendo leadingtoarestatementofS1,fortissimo,playedtutti(53).Thisisthefirstofthe6barphrases(5358), drawingattentionto: (iii) Thirdidea(ThemeS3),playedtuttiandwithcharacteristicsforzando(sf)markings(5966);thisisrepeated withvariouschangesinorchestration(6774)andleadsto: (iv) Fourthidea(CadentialphraseS4),adistinctivepatternin3rdsplayedbyhornsandbassoonsaboverising arpeggiosinthestrings(7578),makinganemphaticperfectcadenceintheTonic(7879).Thisisrepeated(79 82),andtheTonicchordisthenemphasisedinafurther4barphrase(8386). SecondPart(bb85164) S4continuesinthe1stand2ndviolins,after4barsturningintoanaccompanimenttothenewidea(ThemeS5), playedbyasolooboe(91).InkeepingwiththenotionthataScherzomeansajoke,Beethovenmakestheoboe entry2beatslate(ifthephrasewasinitscorrectplace,itwouldformananacrusisonthe3rdbeatofb90).The resultingsyncopationsmakeitsoundasiftheoboeishurryingtocatchup.Thisthemeispunctuatedbya descendingpatterninthebassoonpart(95).S5isrepeated(99)butadjustedtoformaclearperfectcadenceinthe Tonic(105106).Bars107122arearepeatof91106,butwiththeadditionofalittleinterjectionbytheclarinetat theendofeachhalfofS5(114and122),whichpreparesthelistenerfortheclarinettotakeoverthetune(123), accompaniednowbythebassoonsplayingS4.Inanotherjoke,Beethovenextendsthesecondhalfoftheclarinet versionofS5intoanother6barphrase,withacadenzalikeflourish(131132),asiftheclarinetweretryingtoshow itwasbetterthantheoboe.S5thenpassestothehorn(133),withS4intheviolinandviolaparts.NotethatS5is alteredinb135becausethequaverswhichshouldbeonthesecondbeatwouldhaverequirednotesthatwerenot availableonthehorninBeethovenstime.Thehornsoloisextendedbyimitativeentriesfromtheoboe(141)and

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clarinet(143)beforeitsfinalphrase(145).Thisisthenrepeatedbythehorn,oboeandclarinetinunisonabovea tonicpedalpoint(149).Acadentialphraseisthendeveloped(154),withitsmainmelodyintheviolasandcellos (joinedbythe2ndbassoonin158)andfragmentaryentriesintheoboeandclarinetwhichareaninversionofthelast completebarofS5(comparetheoboepartin152and154toseehowthisderivationisachieved).At161themusic ismarkedsempre pi stretto(i.e.thetempoincreases).Thecellosanddoublebassesplayasequentiallinkbased onthecadentialphrase,whichleadswithoutabreakintotheTrio. TRIO(bb165204) Mostunusually,thisisindupletimeratherthanthenormaltripletime(imitatingsomeoftheAustriandancemusic thatcouldbeheardatthetimeinvillagesnearVienna).ThetempomarkingisIntempodAllegro,withametronome markofcrotchet=132(i.e.substantiallyfasterthantheScherzo).Thissectionalsolacksconventionalinternal repeats,buttheoutlineofaBinarystructureremainsclear. Firstpart(bb165180) The4barmaintheme(T1)isplayedinunisonbythe1stand2ndviolins,ff,withheavysfaccentsandaScotch Snaprhythm(167and168),accompaniedbyminimchordsinwoodwind,hornsandlowerstrings.Its predominantrhythmicpattern(quaverandtwosemiquavers)derivesfromadetailintheCodaofthefirst movement(bb476478intheclarinet).ThephrasemakesarathercrudemodulationtotheSubdominant(Bflat major).Thisisplayedagain(169172).Thereisthenarepeatofwhathasgonebefore(173180),butwiththe additionofarisingtripletmotifinthe1stflute. Secondpart(181204) T1isplayedbytheviolasandbassoons(181184),inanalteredversionthatstartsintheDominant (Cmajor)andmodulatesbacktoF.Acountermelodyincrotchets(T2)appearsintheviolins,hornsandupper woodwindareaddedtoemphasisethecadenceandthetrumpetsmaketheirfirstentryinthesymphony,playing astridentrepeatedC.Thedescendingpatterninthecellosanddoublebassesisderivedfromthebassoonpartin bb9597oftheScherzo.Thisisplayedagain(185188). Arepeatfollows,butthemusicissubstantiallyalteredandextended.T1isplayedbythelowerstrings,whileT2 appearsinthe1stviolins,woodwind,hornsandtrumpets(189190).Thesecondhalfofthephrase(191192)is nowchangedsothatitremainsintheDominant.Themelodyinthelowerstringsformsarisingapproachtothe cadence,whilethe1stviolinsandwoodwindplayadescendingphrasethatisdecoratedbyturnsinthe1st violins.Thisisplayedagain(193196)andtheperfectcadenceinCisfinallyresolvedat197.Theremaining8 barsoftheTrioconsistofarepeatedchordofCmajor(woodwind,horns,trumpets,violinsandviolas)abovea risingphrase(cellosanddoublebasses)thatisbasedonT1andoutlinesthechordonthe1stbeatofeachbar.A minimEinthe1sttrumpetand1stviolinsisheld,withapause(203),descendingtoacrotchetC,alsowitha pause(204). TheentireScherzoandTrioarethenrepeated. CODA,formingaLINKtothe5thmovement(bb205264) ThisbeginsexactlyasifitwereafurtherrepeatoftheScherzo(205215).S2,however,isdevelopedintoa6bar phrase(213218),modulatingbacktotheTonic,whichisreestablishedwithaperfectcadence(219222)which resolvesatthestartofthenextphrase.S2nowappearsintheTonic(223230),withitspedalpointplayedbyhorns (withasyncopation)andpizzicatostrings.S1thenreappearsinthestrings,legatoforthefirsttime,whilethehorns andclarinetscontinuethesyncopatedversionofthepedalpoint(231234). S1isthenrepeated,tutti,withasuddentempomarkingofPresto,thephraseextendedto6bars (235240).S3thenreappears,playedtwiceasbefore(241256),leadingagaintoS4withitsstrongcadential emphasisonFmajor(257260).Thisisplayedasecondtime(261264)anditseemsasiftherewillbeafinal resolutionofthecadenceontothetonicchordinafinalbar265butthisdoesnothappen.Instead,themusicleads

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straightintothe4thmovement. FourthMovement:Allegro Tonickey:Fminor Storm Thefreestructureofthismovementisbestunderstoodintermsofaseriesofcontinuoussections,eachdefinedby (a)melodic/thematiccontentand(b)tonalcentreandharmonicdirection.Thethemestendtobebrief,motiviccells ratherthandevelopedmelodies,andthetonalcentrescoverawiderangeofcontrastingkeysmostofwhichare closelyrelatedtotheTonic,exceptforanextendedpassageinAmajorandDmajor,whichareveryremoteindeed fromtheTonic.VerylittleofthemusicisactuallyinFminor;thesenseofthiskeyasthehomekeyofthemovement isachievedasmuchbyimplicationasbyexplicitmusicalstatements.BeethovenhimselfdescribedtheStormas beingintwoparts,butitisnotclearexactlywhathemeantbythis.Themostobviousexplanationisthatthe movementhastwomainclimaxes,eachofwhichbuildsupfromapassagethatisrelativelycalm.Thefirstclimax (SectionsB,CandDintheanalysisbelow)followsonfromitsanticipationinSectionA.Thesecond(SectionsG,H andI)ispreparedbySectionEandF.Theclimaxesthemselvesarequitelong,sustainedpassagesofaggressive fortissimomusic,whichunderlinetheturbulentnatureofthemovementandtheimmensepowerofthiscataclysmic storm,providingthemostcompletecontrastwiththeothermovementsthatitispossibletoimagine. SectionA(bb120) Dflatmajor,modulatingchromaticallytowardsFminor MotifsM1,M2 TheexpectedperfectcadenceattheendoftheScherzodoesnothappen.Insteadthereisaverydramatic interruptedcadence,withastarkchangeofdynamicfromfftopp.CellosanddoublebassesplayaunisonDflat, tremolando,suggestingtherumbleofdistantthunder(12).The2ndviolinsthenenterwithMotifM1,apattern ofquaversplayedstaccatoandrepresentingthefirstdropsofrain(3onwards).The1stviolinsplayMotifM2 abovethisinlegatocrotchets,arisingdiminished5thfollowedbyafallingsemitone.Thescaleincontrary motionthatoccursinb7outlinesadiminished7thchordonDnatural,andthecellosanddoublebassesthen repeattheirtremolandonote,thistimeasemitonehigherthanbefore,ontheDnatural,whilethecontrary motionscaleisrepeatedbythe2ndviolinsandviolaswiththechordreinforcedbythewoodwind.Thereisa crescendoandthedynamicrisestop.ThebassnotemovesupbyanothersemitonetoEflat(11),M1comesin again(13)followedbyM2(15).ThebassnotemovesupanothersemitonetoEnatural(17)withthecontrary motionscaleaboveit.Thechordisnowadiminished7thonE.Thedoublebassesseparatefromthecellosto playapatternofrisingquavertriplets(1920),andthereisafurthercrescendo.Thissectionisdefined harmonicallybytherisingchromaticnotesinthebassandbytheuseofdiminished7thchords. SectionB(bb2132) Fminor MotifM3

Thefullfuryofthestormisunleashedinb21withachordofFminor,playedtuttiandff.Cellosanddoublebasses playapatternofrisingsemiquaverquintuplets(morethunder).After2barsofthesustainedFminorchord,Motif M3adescendingarpeggioofFminorisplayedby1stviolinsandviolas(2324),whilethequintupletpattern continuesinthebassandthewoodwind,horns,trumpetsandtimpani(witharollthefirsttimeinthis symphonythatthiseffecthasbeenused)sustainthechord.Theharmonymovesontoadiminished7thonG(25 28)andM3isrepeated(2728).Afurtherdiminished7thchordfollows(2932)onAnatural,andM3isrepeated again(3132).ThischordmakesamodulationtowardsBflatminor. SectionC(bb3340) Bflatminor,movingthroughC,AflatandFtowardsDflatmajor MotifsM4,M5

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MotifM4,arisingarpeggiointhe1stviolins(33)withdetachedchordsinthewoodwind,hornsandtrumpets, suggestsaflashoflightning.ThetremolandobassmovesupbyasemitonetoBnatural(34)withadiminished 7thchordaboveit,andM4isrepeated.ThechordofCmajoroccursinb35andMotifM5isplayedbythestrings andbassoonsinunison(3536),andisthenrepeated,leadingtoAflat(37),F(39)andDflat(41):thesechordsall liea3rdapartfromeachother. SectionD(bb4155) DflatCminor MotifsM6,M4

ThedynamicchangesabruptlytoppandthecellosanddoublebassesplayMotifM6,asemiquaverpatternwhich isbasedonaninversionofthefirstfournotesofM1.The2ndviolinsandviolasplayatremolandochord.M4 reappears(43)withasuddenfinthe1stviolins,amarkingoffpinthe2ndviolinsandviolasandasinglechord, markedsf,inthewoodwindandhorns.Theharmonychangesontoadiminished7thchordonBnatural(45), withM4again(47)presentedasitwasinb43.Thediminished7thchordtakesthemusictowardsCminor;the tremolando2ndviolinandviolasplaythedominant7thchord(48),resolvingontoCminorinb49.Thenext phrasebeginsasbefore(4950areequivalentto4142,butwiththeadditionofasecondtimpaniroll).M4 reappears(51)overadiminished7thchordonFsharp,andisthenrepeatedthroughthenextfourbars(5255). Theharmonypresentstwoperfectcadences,inBflatmajor(5253)andCminor(54551);M4appearstwice(55), increasingtheperceivedpaceofthemusicasthechordchangesfromCminortoa3rdinversionofadominant 7th(552)thatappearstobeleadingtothekeyofF.However,Beethovendoesnotallowtheexpectedresolution tooccur. SectionE(bb5661) Amajor,movingtowardsDmajor MotifM1 Insteadoftheanticipatedchord(the1stinversionofFmajor),Beethoveninsteadresolvesthedominant7thonto amostunexpectedchordofAmajor.Thebrightnessofthiskeyaftersomuchdarkandthreateningmusic suggestsatemporarylullinthestorm.AvariantofM1isplayedbythe1stviolins(itisstillraining,butless heavily),withmoretremolandochordsinthe2ndviolinsandviolas(indicatingthatthestormhasnotyetrunits course),andsustainedchordsinthewoodwindandhorns.Thepredominantdynamicisp.Themusicmoves towardsDmajorwithadominant7thchord(57)andadiminished7thonG(5861). SectionF(bb6277) Dmajor,movingtowardsCminor MotifsM6(abbreviated),M1,M2 Thetwobarsoftremolando2ndviolinsandviolas,pp(6263),representthedominant7thofDwithjustthetwo notesAandG.WhenthechordresolvesontoDmajor(64)thedoublebasssemiquavers(anabbreviatedversion ofM6)suggestyetmoredistantthunder.M1reappearsinthe1stviolins(6667),withavariantofM2inthe clarinetandasurprisinglycheerfulaccompanimentfigureintheoboesandbassoons.Thechordchangestoyet anotherdiminished7th,thistimeonFsharp(68),withtherisingsemiquaverquintupletpattern(firstheardat21) moredistantthunderinthecellosanddoublebasses(6869).M1reappears(7071)withtheadditionofthe 1stflutein71,andthecheerfuloboeandbassoonaccompanimentfigurecomesagain.Thechordchangestoa dominant7thonFnatural(7273),withM1nowextendedinthe1stviolins(7277),joinedbythe1stflutein73. Therisingfigureinthebassoon,clarinetandoboes(7277)isavariantofM2.Thedominant7thresolvesontoa chordofBflatminor(7475),andthechordthenchangestothedominant7thofC(7677).Thereisalong crescendothroughoutthispassage. SectionG(bb7888) CminorDflatmajor MotifM7

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Thecrescendoreachesitsclimaxwithamarkingofff(78)asthestormreturnsinitsfullfury.AnewMotifM7,a descendingscale4barsinlength,isheardinthecellosanddoublebassesthroughoutthissection(three appearancesinall).Theupperstringsaccompanywithswirlingarpeggios,descendinginsemiquavers,withthe lowestnoteofeacharpeggioemphasisedbyasfmarking,whilethewoodwindplaysustainednoteswith syncopationsunderlinedbyfurthersf markings.Thepiccoloisheardforthefirsttime(82),itspiercingnotes suggestingthewhistlingofthewind.ThechordschangefromGmajor(78)toAflatmajor(81),thenbywayofan augmented6th(844)toBflatmajor(85).ThethirdappearanceofM7leadstowardsaperfectcadenceinDflat major. SectionH(bb8994) Dflatmajor,movingthroughBflatminorandGflatmajor MotifM5 M5isplayedbyunisonstringsasbefore(seebb3540),butthewoodwindaccompanimentisnowdifferent, throwingstillmoreemphasisontothe2ndbeatofthebar,whichisfurtherunderlinedbysfmarkingsthroughout theorchestra.Theharmonicprogression,asbefore,movesrapidlythroughchordswhichliea3rdapartfrom eachother. SectionI(bb95118) Chromaticharmony,leadingeventuallytowardsBflatminor MotifM8 Theharmonyinthissectionisthemostunstableofanysectioninthemovement.Itbeginswithadiminished7th chordonEnatural,abovewhichappearsMotifM8arisingsemitonefollowedbyachromaticscaleinthe1stviolins, joinedabarlaterbycellos(9598).Thisisanotherwayofrepresentingthehowlingofthewind,thestrengthofwhich isshownbythecrescendothatbeginsasthescaledescendsandcontinuesasitrisesattheend;theriseoutlinesthe intervalofanaugmented4thfromBflattoEnatural.Thesefourbarsarerepeated(99102).Therisingsemitone fromthebeginningofM8isthendeveloped(103106),andthecrescendocontinues,shownbythemarkingof sempre pi f(alwaysgettinglouder)inb103.Thebasspartdescendschromaticallythoughthesefourbars,reaching adiminished7thonFsharpwhichbeginsasasyncopation,markedff,onthe4thcrotchetofb106.Thisisthe ultimateclimaxofthestorm,anditisfurtherdefinedassuchbythefirstentryofthetrombonesandyetanother timpaniroll.Cellosanddoublebassesreturntothepatternofrisingsemiquaverquintuplets.TheFsharpdiminished 7thisheldforfourbars(107110),movingontoadominantminor9thchordonFnatural(111112),whichresolves ontoasecondinversionchord(Ic)inBflatminor(113).Thetexturegraduallyreduces(113118);therisingpatternin thecellosanddoublebasses(nowingroupsoffoursemiquavers)occursineveryotherbar,alternatingwithasf semibreve,formingadominantpedalpoint.Theuppermostnoteoverthispedalpoint(1stviolinsand1stflute) descendsfromF(113)toEnatural(114),Eflat(115116)andDflat(117118). SectionJ(bb119136) Bflatminor MotifM7

ThissectionbeginsasSectionG,butstartingfromanFmajorchord(theDominantofBflatminor).M7isagain playedbythecellosanddoublebasses(threeappearancesagain),andthe1stviolinshavethedescending arpeggios.Thesustained,syncopatednotesareinthebassoonsatfirst,thenintheclarinetsandfinallyinthe clarinetsandoboes.Allthesfmarkingsarenowomittedandthemusicmakesadiminuendo.Thechords changefromFmajor(119),throughanaugmented6thchord(1214)toGmajor(122)andAflatmajor(126).The lastsixbars(130135)beginwithadiminished7thchordonBnatural(130131),resolvingontoadominant7thin C(132135),whichresolvesinb136.Now,however,itisCmajorratherthanCminor(Cmajorbeingthe DominantofFmajor),tobeginthepreparationfortheTonickeyofthefifthandfinalmovement.The diminuendocontinues,indicatingthatthestormisfinallymovingawayintothedistance. SectionK(bb137155) CmajorastheDominantofF

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MotifsM4,M6(abbreviated),M1(variant) Afewmorerumblesofthunder(137,139,141and142)arerepresentedbythedoublebasssemiquaversand timpanirolls,withafinalflashoflightningdepictedbyM4inthe1stviolins(140).Thispassage(137143) establishestheCmajortonality,finallyresolvingontotheCchord(144145),markedpp,withevermoredistant thunderrepresentedbytheabbreviatedversionofM6(previouslyheardin64)inthedoublebasses.M1 reappearsinavariantform,inthemajorandinaugmentation(1461501);thishasoftenbeenlikenedtothesun comingoutagainafterthestormcloudshavedisappeared.Theverylastsoundsofdistantthunderareheard (149,150and153)asthevariantofM1isrepeated.Anascendingscaleoverthedominant7thofCisplayedby the1stflute,beginningthelinkthatleadsintothefifthmovement. Fifthmovement:Allegretto ShepherdsSong.Joyful,gratefulfeelingsafterthestorm INTRODUCTION(bb18) Thelinkbetweenthe4thand5thmovementsiscompletedbythis8barintroduction.Asoloclarinetplaysa repetitivemelodicfigure(14)thatsomecommentatorshaveclaimedtobederivedfromtheSwissRanz des vaches(analphorntuneusedforherdingcattle).Thiseffectivelyestablishesthelilting6/8metreofthe movement.Itisplayedoverabare5thintheviolas(CandG,playedonopenstringsgivingtheeffectofadrone), whichcontinuesthedominantpedalfromtheendoftheStorm.Themelodypassestothehorn(58)andthe cellosaddanotherbare5th(FandC),which,becausethesearestoppednotes,producesawarmersound.The harmonyisunusualbecausetheviolanotescontinue,sothattherearetwosuperimposed5thsinthesebars(F,C andG),delayingtheclearstatementonthetonicchorduntiltheGrisestoanAinb8. EXPOSITION(bb955) FirstSubject(bb931) TheFirstSubjecttheme(A1)isplayedbythe1stviolins(916),accompaniedbysustainedharmoniesin clarinets,bassoonsandviolas,withapizzicatobassplayedbythecellos.Themelodyisexactly8barslong;it movestothesubdominantchordatitsmidpoint(12)andendswithaperfectcadence.A1isthenrepeated inthe2ndviolins(1724),decoratedbyapatternofrising3rds(A2)inthe1stviolins(sometimesadjustedto 4thstofittheharmony)andrepeatedquaverchordsinclarinets,bassoonsandhorns.Thereisacrescendo throughoutthissecondstatementofthetheme. A1isrepeatedathirdtime(2531),withA1intheviolas,cellos,clarinetsandhorns.Theviolinsplaythe accompanyingchordsinsemiquavertriplets(32).Thedynamichasrisentoff. Transition(bb3241) ThelasttwonotesoftheA1themeprovidethestartingpointfortheTransition.Theygenerateanewtheme (T1)intheviolasandcellos(3233),whichistakenupbythe1stviolins(3435).Theaccompanimentfeatures anarpeggiatedfigureinthe2ndviolins(3233),passingtoviolasandcellos(3435)atthepointwhere woodwind,hornsandtrumpetsjoinintheharmonisationofthetheme.T1isdecorated(3637)intheviolas andcellos,passingagaintothe1stviolins(3839).Theaccompanimentfollowsthesamepatternasbefore. Thelast4notesofT1thenformthebeginningofanewidea(T2)(4041),whichisagainpassedfromviolas andcellosto1stviolins.Atthispointtheexpectedmodulationtothedominantoccurs. SecondSubject(bb42501) TheSecondSubjecttheme(B1)islittlemorethananextensionoftheTransition.Itisadescendingfigure, outliningthenewtonicchord(Cmajor)andisplayedbythe1stviolins(42),joinedbythe2ndviolinsinthe secondhalfofthebar.Itthen(43)passestothecellos(withtheviolasinthefirsthalfofthebar),backtothe 1stviolins(44),outliningthedominant7thchord,andagaintothecellos(45).Adecoratedversion(B2)is TonickeyF:major

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thendevelopedoutofthismusic(4649). Codetta(bb50255) Abriefcadentialphraseintheviolins(C1)isplayedtwice(502521).Thesecondtime,itisextendedby2bars, tutti,recallingthemelodyfromtheIntroduction. Itisclearthatthewholepassagefromb32tob55reallyformsasinglemusicalparagraphinwhichideasgrow organicallyfromonetoanotherinanentirelylogicalway.Nevertheless,Beethovenkeepstothefamiliar principlesofSonataForm,withthemodulationtothedominantinitsexpectedposition,followedbya substantialpassageofmusicinthedominant.TheproportionsofthisExposition,however,arenotthoseofa conventionalSonataFormmovement,inwhichtheTransition,SecondSubjectandCodettawouldbe considerablylongerthantheFirstSubject.Here,bycontrast,theFirstSubjectis23barslong,andtheTransition, SecondSubjectandCodettatogetherarejustonebarlonger(24bars). DEVELOPMENT(bb56116) Theharmonysettlesontochord1cofCmajorandthe1stviolinsrecallthemelodyoftheIntroduction,joinedbya successionofsolowoodwindinstruments.Thehornthentakesupthemelody.Inthestringpartstheopen5ths fromtheIntroductioncanalsobeheard.Arisingscaleinthe1stviolinsconfirmsamodulationbacktothetonic (Fmajor):ThisrecallstheflutescaleinthelastbaroftheStorm,anditleadsintoacompleterestatementofA1 (6479).TherearevariousdifferencesfromtheExpositionstatement,however.Theaddedarpeggiatedfigurein the2ndviolins(6471)isrelatedtothesimilaraccompanimentdetailintheTransition(3235).TherepeatofA1, completewithitscrescendo,followsasbefore(72onwards),withA2againinthe1stviolins,andthearpeggiated figurecontinuesintheviolas.A1isaltered(75),withaCinsteadofthenormalBflat,andtheharmonyremains onthetonicchordinsteadoftheusualsubdominant.TheintroductionofanEflatinthemelody(76)beginsa modulationtothesubdominantkey:thechordisnowthedominant7thofBflatmajor(7679),andA3returns whentheclimaxisreachedattheffmarking.ThereisaperfectcadenceinBflat(79801). Anentirelynewtheme(D1)isnowintroducedinclarinetsandbassoons,movingin6ths(8081)andthen predominantlyin3rds(82onwards).Thearpeggiatedaccompanimentreturnsintheviolas.TheBnaturalsinthe melody(8284)arechromaticnotes:thekeyremainsBflatmajor.TheharmonyrefersbrieflytoEflatmajor(87& 91),thenmodulatesviaanaugmented6thchord(93)intoDflatmajor(9495).Theexpectedperfectcadenceis notfullyresolved,andtheharmonymoveson,throughBflatminor(97)intoCmajor,withaperfectcadence(98 99).Thebassriseschromatically(9598)throughthispassage. AdevelopedversionofA1isintroducedinthecellos(99109),aboveapedalpointonCandwithanew accompaniment,acounterpointofscalicsemiquavers,intheviolins.Thewoodwindjoininthestatementofthis versionofA1,andthemusicreachesanotherffclimax(107).Whentheclimaxsubsides(109116)thefluteand oboedemonstratethatwhatappearstobeanotherentryofthedevelopedversionofA1isinfactarepriseofthe Introduction:thisrepriseisthereforeachievedwithgreatsubtlety.Thescaliccounterpointcontinuesthroughout thispassage,eventuallyreducedtojustthedescendinggroupof6semiquaversthathadoriginallyappeared quiteinsignificantwhenitwasfirstheardinb99.TheCpedalpointhascontinuedeversinceb99:thisformsthe dominantpreparationforthemodulationbacktothetonic(Fmajor)thatisfinallyconfirmedatthestartofthe Recapitulation. RECAPITULATION(bb117163) FirstSubject(bb117139) Inanotherexampleofgreatsubtlety,BeethovendoesnotprovideanexactrestatementofA1.Instead,he continuesthescalicsemiquaverwritinginthe1stviolinssothattheRecapitulationseemstogrowlogically outoftheclosingpassageoftheDevelopment.Thefirstgroupofsixsemiquaversinb117isinfacta

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retrogradeofthefirstsixnotesofthecounterpoint(compare1171with991toseeexactlyhowthisworks). Thesemiquavermelody(A3)allowstheFirstSubjectthemetobeheardquitedistinctly,however(117124): thenotesofA1occurinalmostexactlytheiroriginalpositionswithinA3,sotherelationshipbetweenthetwo versionsofthethemeisneverindoubt.Anothernewaccompanyingfigureisinthe2ndviolins:thisis derivedfromtheIntroductionmelody.A3passestothe2ndviolins(125132)andtherepeatedquavers reappearinthewoodwind,butA2isomitted.Initsplace,the1stviolinsplaythenewaccompanyingfigure, echoedbypizzicatoviolas.Thecrescendooccurs,asintheExposition,leadingtotheclimaxat133.A3is nowplayedbyviolasandcellos,withthesemiquavertripletsasbeforeintheviolins.Thehornsnowplaythe newaccompanyingfigure.Althoughthispassageisplayedbythefullorchestra,tutti,withadynamic markingofff,thesoundofthemusicisnotaggressive(asitwasintheStorm),butwarmandradiant. Transition(bb140149) T1reappearsinviolasandcellos(140141)withthesamesemiquaveraccompanimentasbefore.The semiquavers,however,nowsoundlikeacontinuationoftheconstantrunningsemiquaversthathavebeen presenteversinceb99(infacttherehasbeensemiquavermovementofonekindoranotherinthestring partsalmostcontinuouslysinceb70).T1passestothe1stviolinsasbefore(14243),thenbacktoviolasand cellosinitsdecoratedform(144145).Insteadoftakingthisupin146astheydidintheExposition,the1st violinsbeginT2,whichisnowextendedtoafull4bars(146149)andadjustedsothatitremainsinthetonic (theBnaturalattheendof149suggeststhatthemodulationmaybeabouttohappen,butisactuallya chromaticnote). SecondSubject(bb1501581) B1andB2followasintheExposition,butnowinthetonic. Codetta(bb1582163) C1isplayedtwice,asbefore,completewithits2barextension,butinthetonic. CODA(bb164264) ThelongCodahasadualfunction,actingbothasasecondDevelopmentandastheemotionalconclusionof thismovementinparticular,andofthesymphonyasawhole.Itbegins,asdidtheDevelopment,withachord ofIc(butnowinFmajor),andthe1stviolinsagainrecallthemelodyoftheIntroduction(164168).Themusic modulatestowardsCmajor(from167).ThemelodyfromtheIntroductionpassestothe2ndviolins(169)witha versionindiminutioninthe1stviolins,outliningthedominant7thofCmajor.Acrescendobegins(171)andthe Introductionmelodypassestotheviolas(173)andcellos&doublebasses(175),withthesemiquavertriplets fromb25in2ndviolinsandviolas.Thechordchangestothedominant7thofFmajor(173)andthedynamic risestoff(177).A1returnsinthebassoonsandcellos,inunisonandwithoutharmonisation(177),droppingtoa suddenpaftertwobars.A1istakenupimitativelybythe2ndviolins(183),referringbrieflytoGminorbefore returningtoF(186).Afurtherimitativeentryinthe1stviolins(187)refersagaintoGminor,butagainreturns immediatelytoF.Anothercrescendo(186190)leadstoabriefclimax,ff,withthesemiquavertripletsinthe upperstringsandA1incellos&doublebasses.ThemusicmodulatestowardsC(195),withadiminuendotopp, andA1entersinthe1stviolinswithA2in2ndviolinsandviolas(196).A1isextendedasanothercrescendo begins(198)andtheharmonyreachesaperfectcadenceinC(199200).ABflatisaddedtothemelodicline (202),turningtheCmajorchordintothedominant7thofF.AperfectcadenceinF(205206)comesatthe pointwherethecrescendoculminateswithanotherbriefff.A3nowreturnsinbassoonsandcellos(206), startingff,withanothersuddenpafteralmost2bars.ImitativeentriesofA3follow(violas210,2ndviolins211, 1stviolins215)andthemusicagainreferstwicetoGminor(212and216).WoodwindentriesofA1makethe relationshipbetweenA3andA1evenmoreexplicit.Thepassagefrom206to218hasfollowedthesame proceduresthatwereusedin177to189,thoughbasedonbothA3andA1ratherthanA1alone.Uptothispoint (218),eachofthecrescendoshasledonlytoarelativelyshortff,butnowasustainedclimaxof12barsfollows (219230),withrisingarpeggiosbasedonA1inthecellosanddoublebasses,andthesemiquavertripletsinthe

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upperstrings(notatedinastandardabbreviatedform).From227thelowestnoteofthebassarpeggiosisF, formingatonicpedalpointthatcontinuesthroughthediminuendo(231onwards).Thestringsthenplaya serene,simplifiedversionofA1(237),markedsotto voce(meaningasquietlyaspossible,orbarelyaudible). Thereisagentlecadentialphrase(241244).Thisisrepeated(245248),startingfbutendingp dolcewith oboes,bassoonsandhorns(thewoodwindmakinganicelyjudgedcontrastwiththepreviousstringsonorities). Asimplecadencefollows,repeatedthreetimesinall(249253),butthethirdtimethedominant7thchorddoes notresolveimmediately,butisextendedtofivebars(253257),withacrescendotofandmorearpeggiosbased onA1inthecellosanddoublebasses.Thecadenceresolvesontotwotonicchords(258259)andthetonic harmonylastsnowforthefinal7barsofthemovement.A3makesafinalappearance,pp,takendownthrough eachpartofthestringsectioninturn,whiletheIntroductionmelodyisrecalledbyasolohorn.Themovement endswithtwotonicchords,ff,thewoodwind,hornand1stviolinsmakingafinalreferencetoatwonote fragmentofA1.

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