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Analysis Of Beethoven's Fifth Symphony

1970 Words8 Pages

Music Assessment Task 5 Research Project Sungbum Park

Beethoven was viewed as a transitional figure of composer between the Classical and Romantic eras of musical history. During the Classical era, the forms such as the concerto and sonata were more heavily defined and given more specific rules. Since Classical era, the Symphony was generally divided into four roughly equal sections, making the use of sonata form more effective.

The Symphony No.5 in C minor Op.67, known as Beethoven’s fifth Symphony was composed by Ludwig van Beethoven during 1804 to 1808. It is the one of the well-known composition in classical music and one of the most frequently played Symphonies. The Symphony No.5 …show more content…

This four-note motive was an identical opening of the Symphony as a unison statement.
The Beethoven’s Fifth Symphony was a completion of the Third Symphony; however Beethoven repeatedly interrupted his work on the Fifth Symphony to prepare other compositions, such as other Piano Concertos and Fourth Symphony. The final preparation of the Fifth Symphony took place during 1807 to 1808; it was carried out in comparison with the Sixth Symphony, which both was performed first at the same concert. However Beethoven was almost mid-thirties during this time and he was suffered by the trouble of increasing deafness, which also makes this Symphony symbolic and significant, because Beethoven also named this 5th Symphony as a “The Destiny Symphony”, according to his destiny of being …show more content…

The 5th Symphony begins with two dramatic fortissimo phrases, which is the famous overture that makes the 5th Symphony symbolic, brings the audience and listeners’ attention. Furthermore, Beethoven used few musical techniques, such as imitations and sequences to expand the theme. Shortly after, a very short fortissimo bridge is played by the horns, which takes place before the second theme is introduced. The second theme is in E flat major, which is the parallel major of C minor and more lyrically, it is featuring the four-note theme in the string accompaniment, and bring this four-note theme back to the Codetta, which is a brief segment between the themes. During the recapitulation, there is a brief solo passage for oboe in qusai-improvisatory style, which is a semi-improvisation, to bring up the expectations and tension to the conclusion, and the movement ends with a massive

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