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CHAPTERfi34 Disrupting the Conversation: Beethoven
and the Symphony in Transition
a. exposition:
i. theme 1: based on rhythmic motive
(short- short– short- long)
ii. horn call introduces theme 2
iii. theme 2: lyrical, heard against four– note
motive
b. development: begins with horn call
c. recapitulation:
i. explosive return to theme 1
ii. oboe cadenza introduces theme 2
iii. theme 2: in C major
d. extended coda; movement ends in C minor
2. mvt. 2: Andante con moto; theme and variations,
A– flat major
a. two contrasting themes
b. flowing triple meter
c. theme 1: heard first in low strings
d. theme 2: built on four– note motive
3. mvt. 3: Allegro; scherzo and trio form (A- B– A′),
C minor
a. scherzo: rocket theme in low strings
b. four- note rhythmic motive in horns, ff
c. trio theme: C major
d. fugal passage in double basses
e. return of scherzo: varied orchestration
f. transition to fourth movement: timpani
rhythm, four– note motive
4. mvt. 4: Allegro; sonata- allegro form, C major
a. added instruments; piccolo, contrabassoon,
trombones
b. forceful dynamics: fp effects
c. theme 1: triumphant, C major triad
d. theme 2: energetic, G major
e. development: brief recurrence of scherzo
f. extended coda; long final cadence
OUTLINE
I. “Beethoven the hero”
A. Hailed as genius in his lifetime, continued influence
B. Transitional:
1. careful balance of convention and “strategic
disruptions”
2. link to coming Romantic age
C. Grounded in Classical traditions, emerging Roman-
tic sensibilities
II. Beethoven’s Symphonies
A. Symphony: ideal medium to address his public
1. first two: reflect style of Haydn and Mozart
2. Third: Eroica, originally dedicated to Napoleon
a. personal narrative, individual heroism
b. expanded possibilities of the genre
3. Fifth: model of the genre
4. Ninth: Choral Symphony
a. vocal soloists and chorus
b. text: Schiller’s “Ode to Joy,” expression of
universal brotherhood
B. The Fifth Symphony
1. best– known symphony
2. standard four– movement cycle
3. fits Classical par ameters, pushes beyond
4. cyclical form: unified whole
a. famous opening motive: “Fate knocking at the
door.”
b. motive permeates all four movements
5. conflict and strug gle, victorious ending (C minor
to C Major)
C. LG 24: Beethoven: Symphony No.5in C Minor,
Op. 67 (1807–8)
1. mvt. 1: Allegro con brio; sonata- allegro form,
C minor
128 | Chapterfi34
Romantic poet, playwright, composer, and critic E. T. A.
Hoffmann:
“[The] music sets in motion the machinery of awe, of
fear, of terror, of pain, and awakens that infinite yearn-
ing which is the essence of romanticism. He is therefore
a purely romantic composer.”
(David Charlton, ed., E. T. A. Hoffmann’s Musical
Writings, trans. Martyn Clarke [Cambridge: Cambridge
University Press, 1989], p.98)
How does Hoffmann define Romanticism? Which
characteristics of Beethoven’s Fifth Symphony do you
think lead Hoffmann to his conclusions? Which charac-
teristics of this piece do you associate more strongly with
the Classical era?
2. As discussed in the Interface (“Beethoven and the Poli-
tics of Music”), Beethoven’s music has been used to meet
TEACHING CHALLENGES
them within the context of strug gle and redemption in
Beethoven’s Fifth Symphony.
SUPPLEMENTAL REPERTORY
SUPPLEMENTAL BIBLIOGRAPHY
Burnham, Scott. Beethoven Hero. Prince ton, NJ: Prince ton Univer–
sity Press, 1995. Burnham discusses Beethoven’s “heroic”
works (including the Fifth) from the vantage point of their social
introduces the outside forces that contributed to Beethoven’s
decision to compose symphonies.
OVERVIEW
This chapter positions Beethoven and his symphonies in a
transitional phase between the Classical and Romantic eras.
Beethoven’s Fifth Symphony illustrates the negotiation of
Classical and Romantic ele ments inherent in this composer’s
music. The lasting influence of Beethoven’s symphonies is
discussed within the po liti cal contexts associated with their
per for mance.
LEARNING OBJECTIVES
1. To understand Beethoven’s music as grounded in the
conventions of the Classical era yet disrupting aspects of
that tradition for expressive purposes
LECTURE SUGGESTIONS
1. Review the multimovement cycle typical of the Classi–
2. After reviewing the standard sonata- allegro form as
heard in Mozart’s Eine kleine Nachtmusik, play the first
movement of Beethoven’s Fifth Symphony. Take stu–
dents through the sonata- allegro ele ments of this move-
development and recap, but should identify the return of
the second theme in the recap in C major instead of the
expected C minor, and the expanded coda as somewhat
of a departure from the Classical model. Ask students if
one central theme stands out among the others. Empha-
ASSIGNMENT SUGGESTIONS
1. Below is an excerpt from a newspaper review of
Beethoven’s Fifth Symphony by the celebrated German
Disrupting the Conversation: Beethoven and the Symphony in Transition | 129
have considered other famous musicians for the field
portrait— Bern stein, Pavarotti, Chopin, Liszt, and
Mozart. About his decision to go with Beethoven, Baker
says, “When you see a picture of Beethoven, you just
tured genius: his deafness (he is seen using his ear trum–
pet), the adversity he faced in public (steps in horse
manure, birds peck on his head), and his alleged social
isolation (walking the city alone at night, he falls off a
bridge). But the story ends in redemption: he arrives in
signs of slowing; perhaps it’s a testament to the way in
which our society is inspired by heroic stories of failure
and success. Perhaps they justify/inspire the paths of our
own lives?
YOUR TURN TO EXPLORE
Find several references to Beethoven or his music (visual, liter–
ary, or sonic) in popu lar culture or commercial contexts. What
State Warriors in the series, the first time in NBA his-
tory a team has gone on to win the finals after being
down three games to one. James scored a triple- double
in Game 7. Was Irving also drawing on the story of
Beethoven’s triumph in the face of deafness in making
ting large- scale portraits of famous figures in open fields
and plains. Baker’s choice of Beethoven illustrates the
power ful position of the composer in the popu lar imagi-
nation. Baker, who is not musically inclined, claims to