The violins play the 5th bar of the main theme as a motif. In the Coda double bass and celli intone in the rhythm of the main theme. Quickly upsurging string scales lead to the main theme at the beginning of the recapitulation. Strings and woodwinds alternate in dactyl rhythm. The rhythm confronts the listener as the only decisive element, that is why the symphony was called an apotheosis of dance by Richard Wagner. This climax, which is unique even in Beethoven’s work, develops from the rhythm of the main theme.Īn ascending motif in the rhythm of the main theme gradually pushes its way upward, the rhythm becomes a contrapuntal element. The syncopated rhythm with the C-major chord reappears 2 octaves lower, where it is imitated in canon-like form.Īll the strings take up the rhythm of the movement (half a bar) and the woodwinds carry on in dactyl rhythm: 2 sections of the orchestra in dialogue! The head of the main theme is resumed in piano, unfolded in various ways to form the basis of a brilliant escalation. The material for the development section is ready: simple, but very flexible and pliable under Beethoven’s ingenious power of transformation. New themes arise, in contrapuntal order, built on dactyl rhythms and the scale ascensions from the introduction. The basic rhythm of the main theme remains the decisive element of the development section. The 1st violins play the basic rhythm of the movement, combined with the ascending scale gained from the introduction. Unisono beats of the strings, caught up by the wind instruments in syncopated rhythm and separated by general pauses, lead on to the development. A complete scale ascension in the violins leads into a general pause of 2 bars. The exposition ends with a fortissimo rendering of the main theme. In the epilogue-coda the triad is fragmented in the rhythm of the main theme. Gained from the main theme, but with a completely different meaning, the theme of the epilogue is introduced. Unlike in any other Beethoven work, the forceful rhythm dominates everything, even the melody. It is also derived from the rhythm of the main theme. The 2nd secondary theme follows immediately. The 1st secondary theme occurs, to be imitated soon after. The 3rd bar of the main theme starts the modulation to the secondary theme. The rhythm of the main theme remains the decisive element for the further development of the themes in this movement, also in an epilogue which continues the themes. First sounded by the woodwinds, the theme is continued and taken up in fortissimo by the first violins.
The slow introduction of the symphony leads to a quick 6/8 time, from which the main theme of the 1st movement is derived. Throbbing string 16th-notes, exciting interval steps - covering 2 octaves to the bottom - initiate the change from 4/4 to 6/8 time within the 1st movement, which maintains this basic rhythm.
The tension is solved - like at its first presentation - in the piano sounds of the 3rd theme in C major. The first motif of the introduction recurs in fortissimo, together with the 2nd motif, the ascending scales. The musical illustration reaches a point of rest in C major, in which a 3rd motif of the introduction is presented. The first motif (half-notes) combines with the 2nd motif, the chain of scales. Scales in a 16th-note movement provide an interesting contrast. The motif is alternated in oboe, clarinet, horn, bassoon, oboe. This symphony can be called "Gospel of joy".īeethoven uses an expanded, modified classical sonata form.Ĥ brief chords of the whole orchestra - in two-bar intervals - open the slow introduction with a four-note motif (1st motif of the introduction), which has been gained from the A-major triad. S ymphony no.7: 1st movement: Poco sostenuto Version of this article in the new AEIOU.
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