Symphony 8 Fifth Symphony Analysis

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The first part is written in the form of a sonata allegro. Her pace is Allegro con brio, that is, quickly, with fire. The main party represents the development of the initial motive of the symphony. It is distinguished by a great rhythmic clarity, a determined aspiration forward. At the same time, this topic is full of anxiety and anxiety. Having reached the top, the main party suddenly breaks off on the dominant. Again, the terrible battle cry of the "motive of fate" sounds. He gives a push to the stopped movement. The main party continues its development. Gradually amplified sonority, reaching fortissimo. But this time the movement is interrupted on an unstable chord. So, the second sentence of the main party plays the role of a connecting…show more content…
The second part of the fifth symphony gives a breather, the fight seems to be temporarily suspended. True, here also for a short while there is a characteristic rhythm of the main theme of the symphony. But her threat sounds very deaf. The second part is a variation on two themes or double variations. The first theme is melodic, deep and serious. In her melody, performed by violas and cellos. The second theme, despite the three-lobed size, gives the impression of a marching song. Thanks to the powerful sound - when presenting the theme in C major - it seems that this song is sung by more than one person, but by a mass of people. It was this type of song that Beethoven had to hear in his youth. The second theme contrasts with the first not only in character, sonority, orchestral coloring, but also in tone. In C major, like a side part of the first part, it sounds somehow especially light and joyful. Despite this difference, Andante themes have similarities in common. They are united by melodic similarity, characteristic "invocatory" principle, dotted rhythm. Next go alternately the first and second themes. In variations on the first topic, mainly the texture of the presentation changes. Orchestral coloring of the melody and tonality remain unchanged. Only in the third variation does the same minor
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