IV. symphony – B-major, opus 60.
Analysis of the I. movement
Movement form: sonata form –
Adagio introduction, time signature: 4/4
Movement tempo designation: Allegro vivace, time signature: 2/2
Adagio
The movement starts with a
slow introduction and pianissimo, this is the Adagio (playtime aprox. 2.40 minutes). The music’s mood is
mysterious, somber tones sound on deep string instruments.
At the end of the
introduction, the rumbling sounds on the whole orchestra suggests a dramatic
tone, then through the so called “impatient
figures” we reach the first theme of the „Allegro vivace”. It can be listened on the PowerPoint
presentation, page #3!
I. Exposition
The first theme’s melody suggests the carefree feelings of
serenity, joy and happiness.
The theme (melody) can be
divided into two parts.
The melody’s first half is
dynamic, reminiscent of dancing in character.
The melody’s second half
is intimate, lyrical. The dolce instruction (softly, gently) smoothes and
dissolves the previous harsh sounds. ♫ 008_Elso_1_tema.wav
The first theme is instantly
repeated.
The theme does not carry a
deep message, it has no particular meaning.
Beethoven applies the battle
and unity of contrasts within a given theme /even
in dynamics!/, since the melody’s first half is in staccato /short, interrupted
performance/, while its second half is in legato /bound performance/.
After
a short transition again the first theme sounds, and after another even shorter transition
the second theme begins on bassoon, after it continues on flute, then on oboe;
its mood is merry, playfully joyous.
A transition part begins with the unison plays of the strings, after which Beethoven introduces a new second theme. Let us observe
the following: no sooner than the theme’s melody sounds, it’s repeated like an echo in bass! Echo-effect?
Repetition? ♫ 010_Elso_uj2tema.wav
Again a transition section follows, for the fourth time now, in which the
pianissimo sections are followed by forte chord-beats, then the exposition’s so
called introductory line is concluded.
With this we got to know the
whole exposition, or rather its introductory line of the musical themes, which
is repeated according to the rules of the sonata form. In this exposition there
is no closing theme; it is substituted with a short and powerful concluding-képlet???.
The elaboration follows,
which can be divided into four development sections.
1/ In the first part of the
elaboration the impatient figurations are repeated several times, after which
begins the first part of the first theme, but it
does not continue, instead a new short
theme is repeated four times.
2/ After the impatient
figurations the first part of the first theme begins
three times, but it is interrupted by forte chords, then we can hear the
repetitions of a motif of few notes on the violins, which is shortened, while
the volume is lowered to pianissimo.
3/ The third part
begins with kettledrums
in pianissimo, which was given the “poetic” title. We hear the first theme’s second part,
the consequent clause four times, from which, after the repetitions, a scale-passage
is developed.
4/ The fourth part also begins
with kettledrums in piano, then the strings – with increasing tempo and volume – keep repeating the first theme’s preparatory, so called impatient figures,
that gather in the orchestra’s forte fermata,
and finally the first theme itself begins with
intense force; but this is the beginning of the reexposition now.
Observation.
The elaboration’s playtime is
215 minutes, the introductory music’s playtime is 240 minutes,
the movement’s playtime is: 1136 minutes.
In the elaboration no melody
sounds, however the musical fabric woven from seemingly insignificant, small
motifs is a vital part of the movement. It is composed of simple, short motifs,
proving and accomplishing the unity of part and whole. Crucial element: the
“motif-weaving” /Of course rhythm and dynamics are also significant elements./
This “short”
elaboration section proves efficiently, that in classical music, the most
important style element is “motif-weaving”!
Reexposition
In the returning the material
of the exposition is repeated; the difference is, that the first theme is not
repeated and the transition part between the first and second theme is shorter
here.
Coda
The coda begins with the
repetitions of the impatient figurations,
and then the first theme’s variation sounds. The
movement’s conclusion is short, at the end of which we hear the impatient
figuration three times.
Analysis of the
II. movement
Movement form: free sonata form.
Tempo designation: Adagio, time
signature: 3/4
According to musical critics
this movement is Beethoven’s most intimate, most poetic movement; furthermore,
the orchestration and orchestral sound – “the
orchestral gown” – is of the most artistic elaboration. The themes of
the Adagio are extremely sentimental, and what is rare is that they are widely
arched, which is characteristic of Mozart in the first place.
Hector Berlioz, (1803-1869), romantic composer wrote the following about
Beethoven: “…this
being, who composed such a wonder of artistic inspiration was no longer a
human, he was more.”
I. Exposition
Before the first theme we hear the beating-motif in piano; its role is twofold: it prepares the
theme’s entry, goes through the movement giving rhythm and background music; some
parts are played in piano, some in fortissimo. ♫
021_Ketto_lukteto_m.wav
The Adagio’s first theme is
intimate and overly ssentimental. The melody-arch is surprisingly long, unusual
among Beethoven’s themes and melodies.
After this the forte version
of the beating-motif sounds on kettledrum,
preparing another entry of the first theme with richer orchestration.
Then we hear – on violins and on the
oboe – the first theme’s lyrical consequent clause, which is repeated. ♫ 023_Ketto_1_utotag.wav
After a transitionthe second theme
starts on clarinet, accompanied by beating violin-notes; the theme begins in piano (rather
unnoticably), and yb the end it turns into fortissimo. Its tone is akin to that
of the first theme. ♫ 024_Ketto_2_tema.wav
The second theme also has a
consequent clause, its melody is played on violins
and oboe, and is repeated. From the middle
of the second theme the beating-motif is present, and after the second theme’s
consequent clause it is given a concluding role. ♫
025_Ketto_2t_utotag.wav
The repetition of the
exposition’s introductory line is omitted, and a short elaboration section
follows.
II. Elaboration
In the elaboration section,
after the first theme’s variation, the beating-motif’s forte version sounds on kettledrums. Then a foreboding, dark toned chord
(in minor key) sounds deeper and deeper; we could say this is the negative climax.
Then we hear the intimate conversation of the first- and secondviolins.
This is followed by the
beating-motif, then the beginning of the first theme
introduces the reexposition. See ppt
page #12!
III. Reexposition
In the reprise the first theme sounds shortened, in a variation form, the
tempo is slightly faster, its consequent clause follows, with repetition. Then
the second theme’s consequent clause sounds,
and the coda begins... See ppt page #12!
IV. Coda
…which is quite short and apt.
The beginning of the first theme sounds, then after a transition of scale-passages we reach an orchestral
forte. Beethoven recalls the beating-motif once again (as if we hear it from a
distance) and concludes the movement with a powerful chord. See ppt page #12!
Surely all listeners discover,
that the transition between the Elaboration and Reexposition, and between the
Reexpoosition and Coda are more than poetic; more than lyrical. Words cannot
express what is said on the language of music: it is wonderful, amazing, and
unsurpassable; it reaches to the depths of our soul.
Analysis of the
III. movement
Movement form: free trio form. Based
on its characteristics it could be called a scherzo. (Its formal structure in a
letter-scheme: A B A B A)
Tempo designation: Allegro vivace, time
signature: 3/4
A/
Allegro vivace. Its only, so
called “vivace-theme” can be divided into two contrasting parts.
The first part is in fact a motif of two notes (repeated three
times); Bence Szabolcsi musicologist calls it „rhythmic somersaults.”
The second part is a continuous melody, after it is repeated it’s
concluded; its melody is a first upward, then downward moving scale-passage!
The first theme itself is also
repeated. See ppt page #14!
Afterwards we hear motivic play, then the theme and its
conclusion. This follows for the third time, but the motivic play no longer
follows it.
B/
Trio. Here the tempo is slower, the sounding is
softer. The trio’s theme – a motif
of six notes that sounds three times – is an Austrian folk dance music
reminiscent of the mood of the ländler. It is dominated by this theme alone. Its
repetitions appear in variation forms with short transition sections between
them.
A/
This third part is shorter
than the first A part, and there is no new musical material.
B/ The same as the B /
Trio.
A/ This concluding
part now sounds like a Coda. First the „vivace” theme’s enriched version sounds,
then horns blare, and an orchestral chord in
forte concludes the movement.
Analysis of the IV.
movement
Movement form: sonata form.
Tempo designation: Allegro ma non
troppo, time signature: 2/4
I. Exposition
The exposition instantly
starts with the first theme,
which runs, dashes as if it never wants to stop. Meanwhile, three forte chord-beats
sound. the technical literature also calls it “perpetuum mobile”, which means: endlessly moving. The theme in itself is not significant, it has no
deeper message; it is weightless, as usual for every IV. movement. Mozart and
Haydn also composed similar works, but it is still witty, entertaining,
furthermore, it is considered to be high-level music.
A consequent clause accompanies the first theme. ♫ 036_Negy_1_1u.wav
In the transition section
a unisono-passage, rumbling in
fortissimo leads us to the second theme.
The second
theme is a short resignation in the running; its soft sounding melody
begins on the oboes, then continued on bass strings. The second theme has a consequent
clause as well. ♫ 037_Negy_2_2u.wav
Afterwards, the somber,
dissonant chords are followed by playful motifs, and this short musical section is repeated.
A short closing theme follows, it sounds four times, and then it is
concluded. Then the repetition of the expositions introductory line follows, as
prescribed by the sonata form. ♫ 038_Negy_zarotema.wav
II. Elaboration
The elaboration can be divided
into two parts.
1/ In the first section the first theme’s initial
motifs are repeated (they clatter like the train wheels), which ends in an orchestral fortissimo.
2/ In the second section – as a counterpole of the fast tempo – the first theme’s consequent
part first sounds on bass strings, then on violins. Afterwards again the first motif of the first theme takes the leading role, and during its
repetitions the orchestral chord-beats are also present; we witness a somewhat
longer elaboration section.
Then the orchestra quiets
down, but the reprise does not come yet; the bassoon
begins to play the first theme, then after its amusing play begins the first
theme as a reprise.
III. Reexposition
Right after the bassoon solo
the first theme begins, and here Beethoven
shortens, since the consequent clause is omitted, while in the followings the
exposition’s material is repeated unaltered.
IV. Coda
The coda can be divided into
two sections.
1/ This section
begins with the repetition of the first theme’s initial motif, exactly how it
was played in the elaboration. The bassoon’s
solo begins a crescendo, which leads to a frightening, shrill, dissonant chord that is finally softened
on a fermata.
2/ In this section we
hear the first theme’s consequent clause twice; first the violins and viols
play it in piano; secondly it’s played on woodwind
instruments, and right after they add a pleasant little melody, the so
called motivic appendage, which is
repeated four times.
This is the counterpole of the
coda’s dissonant climax, a lyrical episode within the rush of the movement.
Here the “clattering” starts
again, the violins begin the first theme’s
initial motif in piano, and then we reach an orchestral forte where two powerful chords and general pauses signal: the ending is near.
After the intentional “pauses
for effect” the beginning of the first theme is played on violins, reducing the theme’s original tempo to
half. After a general pause the melody is taken over by the bassoon, and then by the viols.
Another general pause, and after it we witness the opposition of the tempos –
slow, and then extremely fast: energetic chords exploding into a downward
moving, unbelievably fast violin-passage conclude the movement, as well as the
symphony.